Alonso Rivero

Yes, the art scene in Mexico City is vast. It's a must-stop for almost any artist on tour. The access to all kinds of shows is incredible, so I had the chance to see many different approaches to art and music.

Producing electronic music is a multidisciplinary activity. You have to conceive the tempo, texture, melody, and harmony between other musical concepts, so any skill you develop on any instrument will help you. It doesn’t matter what type of instrument you play; it all counts. For me, all those years of drumming brought a sensitive understanding of rhythm and groove. Fills and rhythm are already there; you just replace elements with different sounds to create a rhythm. A great thing about producing electronic music is that there are no rules. You can create a hi-hat figure using a synthesiser or sample noise from the street and turn it into a loop with proper rhythm and groove. So, I had to reinterpret and completely change my approach to traditional drumming.

I played drums for a pop artist who went solo after being in a girl band called Jeans [now called JNS], which was very popular in the 90s. It wasn’t my kind of music, but I just wanted to play drums, and sometimes, the price for that is high. I knew it wasn’t the music I wanted, but I still managed to have fun. We played all around and did some TV shows, music videos, and concerts. My takeaway was to soak up the good things and get rid of the bad ones. A music career is a long journey made of many steps, and that was just one more step.

My first approach to electronic music in Mexico was in Playa del Carmen in the early 2000s, which hosted The BPM Festival for many years. There, I began to understand the vibe and energy it created. Then, I started going to Tulum often, and this place really captured my attention. It was unbelievable — the best parties ever! Later on, in 2013, I started producing beats, which was a turning point for me.
I realised the power and immense possibilities of synthesisers, and a new era for me began at that point.

Sleepless is the result of my insights from these last few years. I went a bit more experimental with these sounds and liked the result. You can always dance to the tracks, but this time, they're a bit more oriented for listening. It's a combination of a downtempo, soft, and sexy track like Vanish, some indie vibes in Don’t Come Back, and some psychedelic sounds for Sleepless. I hope you guys like it.

I started this track at the beginning of the pandemic lockdown. You can perceive some nostalgic elements. The immersion is achieved through a time-stretched synth that goes faster and slower, taking you away from the original beat for a moment, and that's the intention. The singer is Ilhem Khodja, a talented French artist. She immediately understood the vibe of the track and helped with the lyric composition too. It was a beautiful collaboration as she made the track her own.

This is an interesting track as it doesn't fit the traditional 4/4 structure. If you listen to it, you'll notice an extra four beats in every measure. The syncopated stab synths bring the energy up and keep you engaged, while the progression of the chords keeps you grounded. I like to hide a different story inside each track, so drops are the best opportunity to make this happen. The contrast between organic sounds, like the piano in the drop, and electronic elements creates a unique approach to the track.

Burning Man is a very unique experience. It brings countless moments that take you to places you had never considered before. It takes you out of your comfort zone, and the output of that can only be positive. Being a part of Maxa Camp, my family gave me a different perspective on things and the importance of giving from the heart. Everything there is different, and conditions can be very challenging. We take many things for granted, and this place helps you realign your route in many ways. Playing there [remains] one of the best experiences of my life, as the democracy of sound is total. You have no idea who’s in the audience, and that's fascinating for me. It's a vortex of fulfilling experiences.

From Radiohead, I always loved their approach to sadness. Their music takes you to inner places of reflection and nostalgia that resonate with me. Thom Yorke's voice has a unique colour that really touches me. Depeche Mode is a natural reference and pioneer of electronic sounds — the kings of synthesisers for me. It's amazing to think that those sounds were created more than four decades ago. Their deep and incredible lyrics add another layer. They are the perfect balance between band or rock world and electronic elements. Adriatique takes me to very deep places with their serious yet melodic style. Their musical journey is always different, and their balance of aggressive elements in the perfect position makes them very special.

Fractal is a music studio where we explore different musical possibilities and it’s always open for collaborations. I’m always happy to host different friends and musicians from all genres. It’s more oriented towards electronic music, but I believe diversity is fundamental for a wider vision. Producers like Carlita, DJ Tennis, and Guy Gerber, among others, have spent time here working on their own projects and collaborating. This space is for music exploration and learning, where we teach DJing, synthesis, and music production.

Debut albums are always very special, and Rise is no exception. It brought out the sounds from my deepest feelings and some fears, too. My music journey started there, and the natural evolution of my music has become less dark. Now, I’m exploring more uplifting ideas but always maintaining suspense and melancholy in my compositions. Exploring new forms of electronic music is the result of this new EP. The main difference between the two productions is the combination of different elements from other genres integrated into electronic music.

I started my career as a drummer, so bands and collaborations have always been around me. Jamming with other musicians is part of my natural workflow. Collaborations are an opportunity to see music from a different perspective, enriching your processes and giving you more tools. Working with them was fantastic. We are all teachers and mirrors of each other. I’m always up for collaborations, and yes, there are many artists on my dream list to join and play around with in the studio.

I want to continue on this path with more shows and lots of music to write. I’m still working hard to achieve some stages I want to play, but I have no super big aspirations. I’m happy to embrace whatever is coming, and I feel very lucky and grateful for my personal music journey. Just having the opportunity to express myself through music is more than I could ask for.

Believe in yourself. You have to be the first one to do it, and only after that will things start happening. The curve of your talent will meet with opportunities, so always be prepared. Enjoy the ride, and try to avoid free gigs.