TREON: Electronics as a Personal Experience

TREON: Electronics as a Personal Experience

She is old, much more than rock, and despite that no one has decreed her death. Electronic music, however dating back to the early twentieth century, is experiencing an intense, mediatic moment of great production. The waves of this telluric movement reach Mexico, although in reality in this country the sound current has been practiced since the seventies; However, because of those details of absence of memory so frequent in these parts, it is usually seen as something recent.

 

Luis “Bishop” Murillo is one of the drivers of this trend; but on top of that, he is worried about documenting it. It is a work he develops as a musician and as a historian, although the fruits of the latter are yet to be seen. Recently it was given the task of curating a box set in which it brought together 60 exponents of different styles, periods and geographies to which it titled The Random Experience of Nothing (TREON) and whose edition, limited to 500 copies, is distributed free.

Like other of the architects of national electronics, Murillo has seen how it has gone through different stages. From an initial, characterized by contempt and rejection, in which even the rockers themselves “were the first to marginalize it because they said: ‘that is not even music’”; its passage “by the beginning of the last decade of a century / millennium that looked very positive”, until reaching the present, when everything in appearance seems buoyant.

In this regard, he says: “From 2010, until today, the commercial standard predominates. Today we have a large electronic music market, huge national representatives, festivals every weekend, events with international artists, parties, clubs, electronic music schools, team brands with direct representation in our country. It means that it is a market to pay attention to and my reflection is: that there is so much does not mean that we are living the best moments. For me it is the opposite, we are in the descending ramp of the decline that began in the second half of the last decade. ”

Motivated by this lack of attention to a series of more solid proposals and far from, for example, the figure of the DJ who has increasingly lost respectability, “Bishop” decided to compile a sample of the national scene in four discs packed in a metal box and the reason, he says, was “a cascade of surprises. The one that generates me to see the number of artists that exist in our country. The one that causes me to know that some don’t even know each other. The one that negatively produces the high commercial standards that dilute many contents to create only consumer culture, attracting people with pyrotechnic fires in which the showIt is the general experience and music is only one element of the formula in which the artist / DJ is just another makeup jester. The one that causes me to see how some artists are being forgotten. For me they are national heroes who gave us creative freedom, who fought against the conservative tradition. ”

The selection of those who appear in TREON was by invitation, without a specific gender or style in mind, “only that it had an average quality and could enrich the general concept.” About 150 invitations were issued and the response was less than half; Most notable in the selection is the almost absence of female exponents. The curator points out: “Of the 15 or 16 I invited, only two responded, one of them sent a trackof 17 minutes it was impossible to put the CD. The other was Mabe [Fratti], she was a student of mine a couple of years ago, I didn’t send her the call but I heard the subject that I included [‘Everything I wanted to know’] and she fascinated me, so I asked her directly and I loved closing the compilation with him; It is one of the best moments of the album for me. She is not Mexican, she is Guatemalan, but as Chabela Vargas said: ‘a Mexican is born where he gives his fuck wins’ ”.

In TREON, as explained before, legendary producers (Carlos Vivanco, Ford Proco, Oxomaxoma, Roberto Mendoza, Samir Menaceri “who had not edited something for more than 20 years”) meet next to others who have achieved internationalization (Cid Project, Closed Circuit, Equinoxious, Kampion), with others again (NRMN, KUMAA, Dimitri Berzerk), as well as demos that had never seen the light (Zofa, Suspicious Mind).

Bishop says: “TREON is free. As a label we will not sell any. Most copies are for artists and they may or may not sell them at their discretion. 100 will be given away in the Constellations in the skin fanzine (https://constelacionesenlapiel.wordpress.com) and the rest will be distributed abroad. You can listen and download for free at https://subunda.bandcamp.com/ which is my label ”.

In 1980 appeared Milky Way , the album of the group of the same name that is actually the project of Carlos Alvarado, at that time also keyboardist of Chac Mool and with which the beginning of the genre in this country is formally inaugurated. Almost forty years have passed in which ups and downs have been recorded; However, sometimes there is a feeling that progress has been very poor. Luis Murillo says: “There is a lot of interest in production, in listening to music from national exponents; However, people still don’t pay for music and shows, does not attend even if sometimes it is free, they support you and they also get tired and want to see other things. Which leads me to reflect that we need music in different grades. Some of us want to do it because we need to get something from within, exorcise ourselves, take out demons and when we deposit them on a trackWe do not know what to do or what follows and the first thing we think is ‘let someone else hear it’. Some are smarter and seek to sell them, create profits and expand their listening territory. Some will see a ‘cultural product’, only the label and packaging are missing. As for the audience that listens, he needs it to decorate his days, work and study spaces; to fill the void with sound ornament. They do not want to accumulate it, only that it is diluted in space, as it happens at the party, so that it accompanies the moment of saying health, of expelling demons with friends in a raised cup, there is the music to seal the moment that disappears to the clash of crystal. Others need to keep it on shelves, drawers or shelves, because they know that one day it will be medicinal or before it relieved their soul and stopped the emotional tear. It seems to me that these tendencies are not only going to be preserved but they will grow exponentially, as we have seen in the last 20 years, when everything has been changing, including the standards that the industry has forged. Every time we will have more interest and more music, there will have to be specialists in separating contents ”.

In closing, he concludes: “TREON is a very personal experience of seeing Mexican electronic music in different temporal and geographical contexts, of studying it and trying to understand the antagonism and creative force, a necessary impulse for the generation of culture. It occurred to me randomly when I was wondering where I am going as a producer, where we are all going with the rapid growth, leaving behind various values ​​and contents. I am interested in bringing to those that I consider valuable and adding them to those who in the march we are winning ”.