Latin electronic music is a "fire" that doesn't run out in clubs
We review the very varied Latin electronic music scene of ambient, house, trance or dub, among others.
There is no other region of the world that can claim to have as much of a voice of its own as Latin America within the disparate world of global electronica.
House clubs and boiler rooms all over the world form a small group of select lovers of a very specific and professional type of parties. There are also world-renowned artists such as Paul Kalkbrenner, Carl Cox or Armin van Burren that range from happy techno to the most aggressive minimal.
Taking strength from the center of such an international musical genre is Latin electronica, with a strong identity that all lovers of boiler rooms can identify by their jungle tones, watery melodies or percussion and wind sounds rooted in identity.
They are sounds to heal body and mind, to meditate or to dissolve in arcane jungles invoked in small dance halls in the wee hours of the morning.
They can also be found tn on platforms like CERCLE on YouTube, where artists look for landscapes full of green and blue, something exotic, while other platforms like Spotify group these kind of musicians in channels like Eléctrica Selvática.
Murcof is one of the best known with a career spanning almost two decades. It is the stage name for Mexican Fernando Corona. After playing in various bands and visiting the European clubbing scene, he created his own minimal project of the most experimental kind.
The current scene is so varied that within the experimental styles there are also records like those of Siete Catorce or El irreal Veintiuno, both Mexicans, that investigate themes like the beyond and the return of spirits to the world of the living with EPs like Saludos and Vuelven.
Maruwá is a Venezuelan DJ who drifts more towards downtempo — a more relaxing perspective that if it were not for the strong bass could be considered deeply ambient. This is also the case Venezuelan Amílcar when he experiments with lo-fy. In both cases, there is a deep connection with the collective imaginary of the Amazon rainforest.
Talking about those electronic midpoints, listeners should refer to the album El Origen by Rodrigo Gallardo and Nicola Cruz, in which they contemplate that same exercise in an Andean key. The folk and regional music with which Gallardo usually works comes together with Nicola's chacarera and electronic charangos with traditional voices in the background.
On March 17, AL DÍA wrote about the futuristic texture that QOQEQA gave to that current, taking advantage of the break in the clubs to experiment with soundscapes. Their latest album appeared on the Lima label Kebrada, founded by Dengue Dengue Dengue, originally from Peru, and another heavyweight whose bet is on electronic music closer to electronic cumbia or drum and bass.
There are also several artists with a dub perspective, heavy reggae, on those same South American sounds, such as the EP Dub de Gaita by Los Gaiteros de San Jacinto.
Another Lima label like Terror Negro bets more on house music and even trance, focusing energies on more dance like tracks. A good example would be Nick León, a former hip-hop producer from South Florida that presents a discography designed for boiler rooms.
In short, a very rich panorama shows that the Latin imprint goes far beyond reggaeton or regional folklore, and its search for identity is so strong that it leaves its mark on something as porous as the electronic music scene.