Kin Nini: Music as an Act of Resistance
“Composing is not difficult, difficult is to drop under the table the notes superfluous”, said Johannes Brahms, in a quote that defines the perfection of the musician poblano, Adrián Romero, for whom the composition is entirely pragmatic, is the pace of life and making music is a complete act of resistance.
Romero was born in Puebla, mexico in 1986. Musical training self-taught, in 2005 he was Breast Blus, a group of blues-funk, and released their first LP. In 2007, he founded Poop of the Cat, who in 2011 took out the disc Folk indigente, the fusion of celtic music, country, rock steady, and african rhythms.
Here an interview with this musician.
How is forge the rock from Puebla?
It’s pretty much a stance of life. Puebla is a place where it begins to dawn everyday violence as a sign of the disease of economic power. Before, however, had been a quiet place, where you could abstraerte to develop a creative activity, a good place to be and to create. But it definitely is not the right place to show it, the public is very apathetic with the local bands.
How is the local music scene?
It is very wide. In Puebla, for every corner you find yourself to twenty musicians, there are a variety of very interesting proposals. Although the passing of the years, you’ll see how to dissolve, form and break due to lack of a music industry that will protection against the voracity of the weather and its changes, needs work, attend school, family, rent, food, and a long etcetera. The musicians become musicians or not engaged to generate a musical language itself, because what is left is the bone. Make original music is an act of resistance.
What is the progressive folk?
It is a name. I see it as a free way to make music, that is to say, to explore it from an idea, an emotion, an experience, a journey, a feeling, an… instead of sending to a place like the city, reveals the internal images of each individual. I would like a professional on the topic of putting names to what is and what is not, to define my music, I do not care very much for that. I say that it’s progressive folk by a need to name what I do, to conceptually bring the public closer to my music.
What about the gypsy or manouche jazz, how did you come to this genre?
I knew the music of Django Reinhardt for a long time. I always believed that it was an alien. Yours is great, a unique language, virtually the manouche is Django. The handling of the guitar in this genre is phenomenal. I always wanted to know how it was done, but it was not until a fortuitous meeting with Pere Soto in the city of Oaxaca, in a jazz concert where he came Alejandro Marcovich, and threw a duel of guitars. I asked Peter to give me classes. There I began to get into the manouche.
How it manages to blend this with the huapango, the rock steady, the incidental music, rock and roll, and the regional music poblana?
All these aspects belong to the same family, that of the music. Some more similar than others, but I think that in essence there is a point where they are very related.
How is your creative process?
I needs to spend something. My songs are descriptions of my loving encounters and unloving disillusions, inevitably intertwined with the hulk and social, on the other hand, with the nature, so beautiful, so cruel, so natural. That experience, that something that happens has a rhythm that at times reveals first the melody, sometimes first the harmony, but it is in the rhythm of the action where it is my first approach to composing. Else is revealing step-by-step. I have had processes for years.
What are your literary references?
Rulfo, Castaneda, Pacheco, Velasco Piña, Vyasa, Tom Spanbawer, Alejandro Meneses, Borges, Hesse, Gringber…
And what about music?
There is music everywhere, not just, overwhelms me. There are many things that I love and I’m not listening to in a long time. In the end, I am not a music lover professional, but even so the list is very long: they Are of Wood, the Beatles, Mars Volta, Violeta Parra, Lasha de Sela, Django, Trola, Belafonte Sensacional, Gerardo Enciso, Nono Tarado, Rockdrigo, Silvio Rodríguez, Natalia Lafourcade, miles Davis…
What refers to the name of Kin Nini, the Mr. Hyde Adrian Romero?
No, it is not a hidden part of me. It is an expression totonaca that means “We the dead” and it is not because you have suicidal tendencies. It seems to Me that being mindful of death is one of the most emblematic of the mexican society, will not flee, we danced and celebrated; it is a call not to lose time, to make each step as if it were the last. But the name comes from a bunch of lawyers with whom he lived. they called me King nini because it had recently left the career of literature, and I was playing in my room. For them it was time to lose, for me an investment of life. I gave grace the name, and what I adopted. However, it was never to my liking the English as a way of giving me to understand or conceptualize my work, and was on my approach with the totonacos that I knew that a graceful modification in the expression gave a full turn. Separately, the words also have another nuance: “kin”, in mayan, means “day” or “sun”. “Nini” is the demonstrative pronoun in nahuatl “this”. I see then as “This sun”. Today, it seems that the mexicans want to live more the sun of Europe, or other places without us aware of what here shines more. On the other hand, Kin Nini also means “sun nini”, a sun that does not work and does not study, is only.
What music listened to your father, the rocker Jesus Romero?
Child heard without hartarme until now the Beatles. Of course, we also sat at the table, Frank Zappa, Queen, MC5, Led Zeppelin, the Rolling Stones, Stevie Ray Vaughan, Eric Clapton, Jimi Hendrix, Donovan, Al di Meola, Gabor Szabo, Violeta Parra, Inti Illimani, Carlos Arellano… A great character, my father. And his friends, my first teachers.
What is the greater teaching that the guitarist Pere Soto has left?
The patience between class and class. We have a long history.
What tell me about your relationship with theatre?
The theatre is my ultimate ecstasy. I think to the daily life the grand theatre. It was in the high school where I met Jose Carlos Alonso, an eccentric director whose follies scenic always congenié. I make music to him from fifteen years ago. The disk of the Poop of a Cat is practically a work for the stage that I developed with him in those years. Right now we’re planning a second album of Shit Cat for a play. The Theatre is my engine.
Why name your third album as Poop Cat?
It is a name very eccentric. It comes from a story in el quiché of Guatemala, to give the account that the origin of the maize comes from the poop of the cat. When hungry, the men of that time ate no more than an herb that named tzetzina, a food which made them feel strongly enough. However, they noted that in the poop of wild cat had a grain digested by the animal. Sent a bug to investigate where she got that grain, but the bed bug was unable to lay hold of the fur of the cat and failed to know where to pull it out. Asked a flea that with your jumps even the cat and revealed where he got the grain and the flea managed to arrive to the place, a cave very narrow. When they arrived, the men were unable to enter the cave, so we asked the different rays that make a small crack. It was not until the blue beam was present that the slit opened and were able to extract the sacred sustenance.
Tell me about your first album as Kin Nini: TutúNakú.
It is a work that I’ve been dreaming up for years, but due to a lack of production had not been able to perform. Now, thanks to the loving support of Manuel Montiel, is very close to come to light. It is a full disk of images, my return to the electric guitar; it is my voice, sad, happy, confused, decrypted, loving, lost, vicious, fallen in love, disillusioned, hopeful, assertive, admired, flying. I think it contains a lot. Are about ten years of searching. TutúNakú it also has a couple of readings, but basically it means “Three hearts” in totonaco and responds to a nature very simple: rhythm, harmony and melody. Is my perception of how it sounds and Mexico, a little more accurate, how to dream, I know when walking in Mexico.