Do you see yourself as part of a movement where there are musicians who are working in the electronic field, but trying to find a way to pull in traditional elements, traditional rhythms?
Yes, definitely. I believe that there are many, many, artists in South America who are trying to find their own balance among particular parameters: the limitations of electronic and digital music making and finding a process of adding in traditional instruments and traditional rhythms.
In my case, I would say that for me, the most difficult part is to keep the sense that this type of music should be able to be danced to. It should still have a proper rhythm which can allow people to move with it. But it also needs to be embellished with harmonic work. We can’t afford to lose our harmonic patterns and our melodies. That also includes the chords we use in our traditional music, because otherwise it becomes very homogenous.
I find a lot of modern music sounds the same, occasionally with a slightly different type of beat. The music industry and the music companies tend to homogenize everything.
You say you are part of a movement at home. What about internationally. Do you see yourself linked to any artists internationally?
Yes, and a few years ago I spent more time in first world countries, playing and touring. But now I’ve come to a point where I believe that the rhythms I like to play and the traditions I feel myself a part of, are from here, from South America. So now I try to find partners in South America.
Sometimes it’s hard because here the music industry is not as strong as it is in Europe or the USA. So whenever you make something that is interesting, it’s really easy to feel that the interest is coming from there. And then you go there and you tour and you feel like there’s something you lose on the way. But obviously you can always come back.
I’m in the process of coming back and trying to do something that has a meaning here. Then, if it makes sense abroad, and especially in the rich countries, perfect. But first I need to create something that is good for here because many times, especially with electronic music, it’s really easy to get recognised internationally because you’re a rare product for the first world countries, so it’s relatively easy to sell abroad. But then your work doesn’t make any sense here. You cannot play it here in a little village because people won’t really understand what you’re doing. I’m trying to go back to the path where my music connects with a local audience first.
And would there be any themes or ideas that you investigate you’re trying to investigate in your music?
I think life here is a balance between the city and technology and nature and from there tradition, which includes music and poetry. The balance amongst those things is what I am trying to work with. I always try to include poetry in my work because I think it is a way of writing which allows you to understand that balance.
I believe that music should be a way of understanding our humanity. I spoke before about keeping a balance between the electronic element of the music and the ability to have the music make people feel like they can dance to it. That is why I don’t produce work which is just experimental, because if people can’t dance to my music I wouldn’t be satisfied.
And where do you look for inspiration in making that connection with your music and dancing?
I would say that if you look to Brazil, they have the highest canon of connecting everything that happens with music and rhythm. For every aspect of life in Brazil they have a song and a rhythm which connect with that situation. I envy that approach in a positive way. I love that connection with our lives, and music, rhythm and poetry. That is what I am trying to achieve with my work.
To see more of the work of Ignacio Rosa
