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Tercer Impacto (2019)

album

composition, vocals, production, mixing: me

cover art: María Ignacia Valdebenito

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you know how every time someone releases something new they say it's their most personal piece? well i think this is actually the case. this second album is a short one but i feel my voice (thus my body) and my own biography much evidently being part of it. there's a lot of self-references here. i even say my deadname in the lyrics of the last song which is a bummer because i have to censor myself everytime i perform funa a utena. but i think that made a lot of people engage with this record differently.

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the album keeps its focus on the electronic production but i think it feels much more care-free and DIY than Tercer Impacto-- not that Tercer Impacto wasn't DIY, or that i didn't spend a lot of time working on this. but it does feel more innocent, in a way, and i think that's something that started build over in my work since then i also added an acoustic instrument (a Venezuelan cuatro) in ropa de chico and funa a utena, and it's particularly prominent on the latter.

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on these songs i also changed a lot of how i was writing songs and lyrics up until that point. that care-free-ness really took over that process and i started to work a lot with collaging notes on my phone, taking quotes from animes i was watching (Utena?????????), and putting a lot of attention on social media language, which i think reinforces the algorithm-like nature of the collage approach. or the other way around, whatever.

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actually the title was something i read on a couple of instagram stories during the 2019-2022 social movement in Chile (yes it was written during that period so maybe that's why i came back to the topic of the end of the world on the lyrics). it translates as: pedro engel announces the end of patriarchy. thought it was funny and silly, particularly considering the context. also don't get started on who is pedro engel.

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 in general but on this partthis would be the debut album of my solo project i think. it's weird to think it that way because i was making music way before that, but it's truly the first full album i fully produced and released with my own songs.

 

i think i began writing and producing the songs in 2016 and finished the whole thing in early 2019. the process of producing was also my own journey of learning about production: i was having a couple of lessons and started to self-teach myself all along during that period. so it was very exciting but also a lot hard, lonely work.

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the album does feel very lonely and intimate to me. i think when people work alone they can bring their most authentic self. to me the more personal a work feels, the more lonely it does too. and i mean loneliness is one of the big topics i tackle on this album and on a huge part of my work. and i think the album works as a way to understand why it is that way. there's a lot of self-reflection on my school life, on feeling isolated during that period, on my family, on the way i struggle with human interaction, with having my art being recognized and supported, etc. sonically i feel that i let loose my exciment for sound design and particularly vocal manipulation. i was just having a lot of fun. a particular high point is Desierto vegano: not a song that i come back very often, but one that i feel really encapsulates that research, by having 95% of the sounds used coming from my voice. that reinforced an idea that i have come back to lately, particularly as i have recognized more my trans identity and my dysphoria: that in the black box of music production your body can be anything you want it to be.