Latin America might be the creator of the future music

The vast cultural heritage and diversity that coexist in the region seems to be the perfect stage for the future sound of music.

The cumbia is like water. That’s what some musicians and DJ who cultivate the genre say. It's a beat, a simple rhythm that fits well with others. Very easy to make. Perhaps in that capacity for creative pollution the miracle of Latin American music in recent years a resident. The new generations, those who grew up to the sound of electronic music and the Internet have bridged connection allows to take the tropical, Caribbean and Andean sound outside the continent.

The first meeting of cumbia with electric sounds occurred by mid to late sixties in Peru, when the Colombian rhythm amalgamated with electric guitars rock and roll, new wave and surf. In addition to the music coming from the UK and US, Peruvian groups like Saicos or Belkings produced psychedelic sounds that would borrow cumbieros. Born of that union groups as Juaneco enormous impact and Combo, the Sparkles, or blackbirds. A sound that would be called psychedelic cumbia and almost at the same time as it passes through the Andes, chicha. Chicha during the seventies and eighties, with the emergence of bands like Los Shapis, Chacalón and its new cream or Guinda, would become such a popular genre like salsa in the neighborhoods of the periphery. During those years, Lima underwent a major transformation due to migration from the countryside to the city, and chicha was the favorite musical genre immigrants. The chicheros mixed Huayno of the Andes and the tropical cumbia with sharp sounds of electric guitars and keyboards, creating melancholic atmospheres, but at the same time festive; lyrics and songs that identified a collective passing of an old rural life to a new urban life. In the nineties, chicha was mutating into techno-cumbia and even Alberto Fujimori tried to take over the sound with his Chinese Dance, causing teenagers and young Lima finished jaded.

In parallel, during the second half of the nineties, in Bogotá, three friends from school and music students began to study and explore the different sounds that Latin American roots gave him. Mario Galeano, Pedro Ojeda and Eblis Alvarez, born in 1977 bogotanos began to dig in the sounds which for decades had been listening in the region. "Our idea was to go back to that tropical feeling, but we find that in Peru, for example, was the opposite, that feeling of emancipation passed by punk and rock, because the tropical sound was very saturated," he says Ojeda sitting exit the room Moby Dick (Madrid) with Galeano and Alvarez. The trio form the Piranhas, band bearing the tropical sound to another level, as if Hendrix had frequented gambling dens cumbia. "In our case it was a collective approach, because from the school we were listening to the three of them at family parties, but we appropriate rhythm very young," continues Ojeda.

Integrantes expanded the band Kumbia Queers, "six girls who play tropical punk" in a project that was born in Buenos Aires in 2007.

In Bogota nineties, several rock musicians tried to dive into the depths of the folk rhythms to find that new sound that identify them as Latin Americans. Search Bloc, Aterciopelados, or Carlos Vives (in a current pop) did the same thing simultaneously was doing Café Tacuba in Mexico with mariachi or Miki González with the Peruvian Negroid during the eighties. The arrival in Bogota English producer Richard Blair and his joint work with Ivan Benavides helped create a new Colombian rock-pop. The electronic project of Blair, Sidestepper emerged about the same time that the Assembly Polifónico Vallenato Trio Galeano-Ojeda-Alvarez began to mix with the sauce beatselectrónicos. "They try to make it more commercial, while we were watching it and doing it from within and from a room," says Galeano, who along with his bandmates behind the front Cumbiero. Alvarez has another project: Meridian Brothers.

Champeta and turntable

Bogota also found in the rhythms of the Colombian coast a great source of inspiration during the last years of the nineties. Unlike the capital, the coastal area -Barranquilla Colombia, Cartagena and Santa Marta has strong African roots. Champeta is the name given to a whole series of rhythms and sounds that came through slaves who landed on the Atlantic coast with the conquest.

San Basilio de Palenque is a town where blacks were sheltering released and subsequently went on to become the first free town of America (the place of honor with Yanga is disputed, another black town in Veracruz). Champeta, which in slang means pocket knife or knife, emerges as a musical genre in the eighties, when the music was amplified through huge speakers called peaks (castellanización pick-up, the portable record player) causing huge parties. "It was the first sound systems, because they put African music from everywhere," says Uproot Andy, DJ Canadian raised in Brooklyn, known for its festivals What Bass!

"That was the first example of the holidays we do today." The advent of the Internet, scanning electronic music vinyls and recover all those sounds that were lost in analog.

Chilean Chico Trujillo

Bomba Estéreo, Choquibtown, Systema Solar, Chicha Libre, Smart & Imperial, or La Yegros are some bands that give it a spin and recover those rhythms that in some cases, like the chicha in Lima, suffered a certain stigmatization the wealthy and educated classes. Dengue Dengue Peruvians, or Animal Chuki are groups that mix and travel chicha festivals electronics in various countries. "This would be like the punk of our time, because rescues what was considered the lowest," says Nicola Cruz, Ecuadorian who takes up the Andean folk sounds. "Electronic music is contemporary language and allows me to play music of the Andes in Spain, for example. A kind of reconquest. But be careful, to be more accessible, the music can fall not always in the best hands. "  



Paco de Lucia

The Negroid and sound of the drawer that Peruvian slaves created south of Lima and Paco de Lucía brought to Spain in the late seventies is recovered by Novalima. Nortec does the same with the bullfights and Mexican northern area of Tijuana. In the shantytowns of Argentina, cumbia villera exploits almost the same time as the corralito and goes from marginal to become elmainstream. Kumbia Queers add to all this a punk attitude. Rolando Bruno takes the psychedelic. Chancha Via Circuito, El Hijo de la Cumbia, or SidiRum do pass filter electronics. The ZZK record label, Buenos Aires, is spreading the digital cumbia since 2008. In Chile it is called chilumbia and Chico Trujillo is one of its champions. But more interesting perhaps is yet to come. Miscegenation could continue. there are still surprises, like those experienced after the racks of Caracol in Madrid on July 6 where Novalima and Nortec improvised something completely new. The Negroid with the northern Peruvian Tijuana and a timpani marking the cumbia beat. That sounded future

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