Thanks to his immersion in electronics, the Argentinian musician worked with fragments of music to compose a good part of Bocanada, his first solo album in its own right. Of these, he took a fragment he heard in the legendary heights of Macchu Picchu. He even called Viñamarinos to ask for their permission. This is the story of an unexpected crossing.
In the hot summer of 1999, as the first shadows of the economic crisis were creeping over Argentina, Gustave Cerati he felt ready to prepare a solo album. Even though I had already started yellow love (1993), this time it was different. Freed from the tensions and troubles he experienced in the last years of Soda Stereo, the musician was able to work serenely. “This is the album that I think his process felt more happiness and relaxation than on other occasions,” he explained at the time.
Despite its sound Puff had an unexpected house flair . Cerati set up a basement in his house in Buenos Aires as a recording studio. He fashioned a sound bunker there in which he stored pedalboards, consoles, guitars, synthesizers. In one corner he hung a picture of his wife, Cecilia Amenábar, with their newborn daughter Lisa, and a London Underground sign on the door, almost like a statement. Underwater House called it.
There, under the bubbling of the beats, the musician spent the day working with the machines and instruments at his disposal . He would only come to the surface of everyday life to eat or attend to an emergency. According to biographer Juan Morris, the first material worked on the album was a sampler taken from the single Waltz for Lumumbaof the Spender Davis group, which resulted in Taboothe theme that opens the album.
Cerati had developed its interest in electronics since the beginning of the decade. “This disc ( Puff ) involves greater understanding with the computer . I was able to squeeze more juice out of it. Until yellow love I worked without a computer. But when I bought the Macintosh, I started to investigate and already in stereo dream there are a lot of programs that are made inside the machine,” reads a statement from the book. Cerati in the first person by Maitena Aboitiz.
Thus, he began to accumulate hundreds, thousands of fragments of music, which he modified as he pleased. He stopped creating exclusively with the guitar to concentrate on the computer. “I took parts of other songs and twisted them changing the tempo and stretching them, new ideas came up seeds of songs that took him to unexpected places,” describes Juan Morris in his biography of the Argentine.
One of those parts was taken straight from a Los Jaivas album. And the Pro Tools software used, included it in Root, one of Bocanada’s promotional cups. Cerati himself explained it during his visit to the memorable program italy square of the defunct R&P channel (with Marcelo Companini and Marcos Silva at the helm). “There’s a little piece of siku (pipe) they used on the album Heights of Machu Picchu. I stole it, but in a fit of honesty I called them and said ‘I’m using it, if you can give me permission’ and they were fantastic”. Strictly speaking, it is a fragment of the pan flute that sounds in from air to air.
Despite being an inveterate music lover who listened to everything in vogue, Cerati admitted that he got to know the music of Los Jaivas later in his career. “I caught them a bit late, maybe, at a time when going to see Los Jaivas, Arcoriris, those bands that at the time were like a fusion, although in the case of Los Jaivas they continue to do so, between ethno and rock culture. But the Andean theme has impressed me, it has always attracted me, it seems to me that this is the folk place where I feel the most touched ”.
Cerati recalled that this music produced sensations in him. “The type of melodies, this thing with minor modulations, this song that needs a mountain to complete. This idea combined with the trips I took as a child and the trips I took even here in Chile in the north, the region of San Pedro, is very strong. All this is a lot of life for me.
Root This is the cut in which Cerati has developed an interest in expanding that interest . Something like continuing the road he opened in the carnival of the new wave that he developed in When the tremor passes, at the time of Soda Stereo. “He Tremor, tell the heart of the tale and finally Rootit’s these distorted medium approaches that I do”, he confessed bluntly in italy square. A
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Source: Latercera
I am Robert Harris and I specialize in news media. My experience has been focused on sports journalism, particularly within the Rugby sector. I have written for various news websites in the past and currently work as an author for Athletistic, covering all things related to Rugby news.
