Meditating on vocals through Chilean folk-electronic fusion
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Loading... - Alejandro Diaz
- 25 Oct 2024
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Chilean musician Chinoy, also known as Mauricio Castillo Moya, has recently released the album “Venusterio,” which showcases a unique blend of traditional Chilean folk music and electronic instrumentation. Growing up in Valparaíso during the 1980s, Chinoy's musical journey began with punk and folk influences, but “Venusterio” marks an evolution in his sound. Although I am not deeply familiar with Chinoy's work, my father introduced me to some of his songs during my childhood, creating a nostalgic connection to his music.
Recently, while driving at night, my dad played the 11th and final track of “Venusterio,” titled “Dices Nosotros.” I was immediately struck by the compelling backgrounds that contrasted with the androgynous vocals characteristic of Chilean folk music. The song opens with a blend of guitar and a synth-like arpeggiation, leading into a strong beat that introduces Chinoy’s voice. The melody is simple yet enriched by a robust bassline, dynamic drum accents, and scattered keyboard melodies that elaborate on the composition.
The track features another prominent Chilean artist, Aldo Enrique Asenjo Cubillos, known as El Macha. His deep, raspy voice contrasts beautifully with Chinoy’s, creating a fluid transition between the two vocal styles that I found particularly pleasing.
A Shared Listening Experience
When my friend Camila Bonilla visited me at Bowdoin, I decided to share “Dices Nosotros” with her. As we sat comfortably on the couch, I observed her visual responses to the music. She smiled and nodded her head as the bass and drums kicked in, seemingly entranced by the lulling beat. However, I also noticed a hint of confusion as the song approached its conclusion.
After the track ended, I asked Camila for her thoughts. She found the song interesting, noting the juxtaposition between classical style and modern beats, particularly in relation to Chinoy’s voice. This “classical style” reminded her of her parents’ taste in older Latin American music. However, her responses felt somewhat flat, as she admitted, “I don’t really listen to music like this. It would be a good background song, but I don’t know if I would listen to it on a walk or anything.”
I was intrigued by Camila’s lack of connection to “Dices Nosotros,” especially since I had been so captivated by it during my initial listening. I wondered if her reaction was influenced by the environment or the context in which we were listening. Camila suggested that the expectation of sharing a song can create pressure, stating, “If I just listen to the song on its own, there’s like a feeling that I get when I know a song is good. It kind of just clicks for me.”
Revisiting the Track
We decided to listen to “Dices Nosotros” a second time while making toast in the kitchen. This time, Camila was more talkative, sharing her likes and dislikes as she experienced the music. She appreciated the keyboard lines but expressed a strong aversion to Chinoy’s voice. She compared her feelings about Chinoy’s singing to her reactions to the artist Adrienne Lenker, explaining that while she enjoyed the background music, the vocals didn’t resonate with her.
However, when El Macha’s section began, Camila was drawn in. She found the instrumental aspects of his bridge, including some string elements, more enjoyable. She concluded that El Macha’s low, gravelly voice reminded her of the music her parents listened to, making it more appealing to her. I found it amusing that while Camila preferred El Macha for the same reasons I enjoyed both artists, our experiences diverged.
Reflecting on Musical Appreciation
Understanding Camila’s distaste for Chinoy’s voice prompted me to reflect on my own experiences as a vocalist in various musical environments. I realized how important it is to actively consider what influences our appreciation of a song. My desire to disrupt traditional notions of music has led me to embrace the uniqueness of each artist’s voice, rather than adhering to rigid standards of what is deemed “good” or “bad.”
Singing is an intimate act that requires vulnerability, and I believe we should not shy away from it due to self-doubt. The music industry is often shaped by conservative ideals that dictate what is acceptable. Over time, I have shifted my focus from judging a singer’s voice to appreciating the individuality that each artist brings to their craft. This perspective allows for a richer understanding of music and fosters a deeper connection to the diverse sounds that shape our musical landscape.
In conclusion, my exploration of “Dices Nosotros” and the contrasting reactions between Camila and myself highlight the subjective nature of musical appreciation. It underscores the importance of context, expectation, and personal experience in shaping our responses to art.
