1. Name: Allan Vizzuett Almazán
2. Location: Mexico City
3. Can you tell us about this track?
This track is part of a collection of sound sculptures that I’ve been working on and off during the past two years. Some of the resulting sounds were produced by the interaction between ceramic pieces I built and a variety of organic and synthetic matter.
While manipulating and transforming materials used in my ceramic production, I noticed many sounds and vibrations that struck me, and I developed a deep interest in them.
I like to think about mineral resonances as a language of the earth on its own. The apparently inert strata have been laying on the earth’s crust for milenia, experiencing movement and stillness, holding ritual meaning and industrial function, receiving and emitting energy throughout time, and being carried from one place to another with all the positive and negative impacts for nature and human society. They represent an example of duality—balance and imbalance at once.
I like to imagine there are many earthly stories left to be told and this is one humble approximation to that idea.
4. What's your process?
I’d say that the technical aspect of my creative process varies through time. I use different tools and sets of ideas, trying to keep it dynamic for me somehow. I can’t say I produce too much or too constantly. It kind of comes in waves and I take inspiration from other activities I do that are not necessarily related to music production.
Nevertheless, I have to admit that sometimes moving from a very physical activity to my laptop is somehow challenging, and finding the right time and mindset is something I struggle with from time to time.
Overall I consider music making to be very intuitive, guided by how or what I feel during the moment I channel the sounds I record and produce. I’m very attracted to the idea of intentional repetition and I try to convey this combination of thoughts and emotions as "crystals" made of specific emotions and details of a certain atmosphere.
I also really enjoy mixing music, and when I do I love to tell a story with varied soundscapes, mixing different styles, tempos and textures, like an emotional sound palette journey that goes here and there.
5. Can you tell us about your scene?
Mexico is full of amazing talented artists and creatives that come from different backgrounds and disciplines. I’ve had the luck to see how different scenes and collectives spring and blossom in my country during the past 12+ years.
During this time I got very close to WIK, a group of friends that also produce music, visual art, texts and films. With them I’ve had the chance to learn and share a lot about myself and the world. For me it truly feels like a family. We’ve collaborated on different projects like record labels (Empty, SNU, ISR), radio shows (Reflejo Sobre Negro), residencies (Fuerza Bruta) and films (Rocas en Forma de Viento, Dandarandan, Ruinas Tu Reino), among others.
I consider that the Mexican music musical landscape is constantly influenced and shaped by sound artists from abroad but also has a notable national essence by the ethos of “thinking global, acting local.” It is especially nice to see the emergence of woman, non-binary, trans, and genderqueer-led projects in the past years.
Even if I don’t consider myself part of club culture in general, I think it’s very important to acknowledge this, especially when it comes to creating safe spaces for club dynamics and nightlife. Of course, it is a work-in-progress, and I feel the need to talk about it because it influences my creative reality here. For that, I’m very grateful to the local scene.
On the b-side, from time to time, I also notice folks hating on each other's work for apparently no good reason and the atmosphere goes a bit into the pretentious/rude zone. I guess this is common all over the world, but in general I think it is important to have a kind approach to the dance floor and everything that goes into making it happen. In my opinion it’s about mutual respect, care, and community. Love and music should be at the forefront, always.
6. Who are your biggest influences?
I’d say my uncle Mauricio is my first and biggest musical influence. He’s a very curious person who was kind enough to share his musical background (mainly metal, prog rock and jazz) with me when I was a kid. I think I’ve been influenced by his approach towards music, even if our paths went in different directions.
My group of close friends also inspires and influences me a lot! It is very nice to just share our art from time to time, having a cup of Octli (pulque, a fermented agave beverage we all love) while chatting about life in general.
My friend Ollin also inspires me, so so much! We share many different insights regarding a lot of topics and she always keeps me interested in learning and sharing together with love and compassion.
7. Who's your favorite artist on Nina?
Turning Torso, Uurah, Nima Ikki, Chiclosx, CNDSD, EAMS, Bergsonist, Doxa, Flaty, among others :)
8. Any shoutouts?
Shouts to Ollin, Ámbar, WIK, Enrique Polanco, E.Z.L.N., KHÉ!, Materia Abierta, Mitamine Lab, YALC, NASU, Bienvenidoalbarro, Where To Now?, Ambient Para Leer, Melodykrafter, Antimateria Sonora, Vorágine, Oréille Gardée, Ensamble and the list could go on and on.
