Matias Aguayo | My own dance floor [Interview]

Matias Aguayo is a creative and superlative master of the electronic music spectrum. When an artist has in himself a brilliant sense of how to create and juxtapose, along with a strong sense of community, a combination like that can only be surprising, to say the least.

Mr. Aguayo has strong beliefs when it comes to the development of new ways of producing and creating music, and also on how to share it with the world.  He is responsible for the famous BumBumBox parties, the free dance celebrations/flash mobs that traveled across South America and Europe in recent years, and he is also the main sponsor of Coméme, a platform of creative exchange that has evolved into being a reference for DJs and electronic music aficionados worldwide.
 
The German raised Chilean is therefore, without a doubt, one of the artists to listen to, if you love dance music, or if even if you’re just getting into it. Matias Aguayo shared with us some of his views, plans for a new album, and much more. Read below.
 
 
What are the first sounds that you remember dancing to?

One early evening I was taken to a club, where a DJ friend of my father played, I was a child back then and until today I remember the lights of the dance floor, I think that was a very heavy impact, I tried to imitate something like that at home, I filled my room with a cardboard floor and drew on it. It was my own private dance floor, and I was playing tapes from this DJ I just told. Nowadays I am aware that most of the music was from New York, but I also remember going to concerts with my parents, some Chilean bands like Los Jaivas, but also we had friends who regularly played in a Salsa Band called The Combo Latino, that is the first concert I remember, that was all in the south of Germany, when my parents migrated there.

What was the main intent behind the concept of the BumBumBox parties?

It was not a concept but a necessity. This necessity is to take the idea of dancing out of the club context to everyday life, to free it from those formats, and also to free it from a commercial context. It feels great if you are having fun without a consumer / service relationship, and it is also inspiring for the musical process. Life is short, so I think you have to fill it with adventures and somehow find the ways to live your love for music. BBB was just one step or idea, but there is much more to do in that sense. And the restrictions in public space are definitely something we have to overcome somehow, or at least try to.

Tell us a bit more about Coméme…

I think Cómeme has become very important to its own members and context. It has developed as a platform for exchange and common creation with people from such different places as Medellin Colombia, Santiago Chile, Cologne, Buenos Aires, Berlin, etcetera…
It has developed a very own dynamic we don’t know yet where it will lead us to. I suddenly find myself receiving tracks, collaborations between musicians we introduced to each other and are working on what I think is great dance music so having generated this obviously is something very rewarding. It fills all of its participants with joy I think, and also it has become more and more open and integrative. That’s why we also felt driven to react to this situation and do for instance RADIO COMEME, which we are featuring on our homepage MUSICACOMEME.COM

I think it is worthwhile mentioning as it has given us the opportunity not only to speak about the music we do but to present an interesting context of people and thoughts and love and work etc… It is already broadcasted also FM on some radios around the world, and it is important for us to reach toward different audiences as we are definitely not a genre label that fits somewhere into an already existing scene. There is this absolute integrity in Coméme I dare saying, that not a single artist is trying to sound like something else, so this is obviously difficult on the one hand, as a vast majority of djs has become very conservative, on the other hands I feel the audiences are more open towards different music, and also many musicians and dj’s can somehow identify with or relate to this integrity. You might like what we do or not, but you can’t deny we are not trying to please existing scenes at all, or to fit into genre clichés.

 

How’s your creative process? Do you plan to create, or you just do it?

It is a very natural process – oriented work. I don’t really know where I am going when I start a project, and I am happy I don’t, as it would feel like starting to read a book you already know the end, or something like that. If there is something like a concept, it is more to set the conditions under which I will work, the place where I will record, the instruments, the people I will work with, and how I will develop the music. Instead of searching it is much more about the idea of creating conditions in which inevitably you are driven towards exciting situations that might evoke exciting solutions… I think music is a very clear language, you can’t really pretend in music, so I think if your process of creation is lived under exciting or intense conditions, the result will automatically sound like that, too.

Are you still a Chilean? Or do you think nationality is not even an issue these days?

There is that term “citizen of the world” which I somehow hate, because obviously there are no citizens of the world where there is no real world citizenship. It is no problem for my friends in Europe to travel to South America and stay as long as they like, the other way round it’s a different story. We don’t have to forget that, although the young music jet set conditions makes you believe it is different and all is easy and open. Considering myself I am a result of my weird conditions of growing up in a Chilean family in Germany, and having lived in even more places like France or Argentina. The more I have traveled and the more people from different places I’ve met the more difficult I find it to generalize on cultural matters…

 

A brief statement for all your aficionados on what to expect and when to expect a new album/work…

2013 will definetly be a time of much output for me again, whereas in 2012 I was much more concentrated in collaborating with the musicians we support in the label. If you get to see me play though you will already hear some new tracks, as I love to develop them while playing them out, improvise etc… Yes I am working on a new album, btw…

 

 

 

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