Released on Ambie—Tón, an ambient sub-label of the Colombian dance music powerhouse TraTraTrax, Memoria is a collaboration between two key members of the Latin American new music diaspora. On the album, Colombian Drone Mafia—a new moniker of the Bogota-born DJ, sound artist, and TraTraTrax founder Nyksan—provides an abstract sonic bed for the composer and violinist Gibrana Cervantes to play with. In its combination of field recordings, electronic moves, and textured violin, it serves as a sonic testament to Latin America, one probably best experienced in headphones. That’s at least according to the artists themselves, who answered some questions for us about the release. Read the interview and listen to Memoria below.

How did this collaboration come together? How did you two meet?

Nyksan and Gibrana: We met in London when Gibrana came to see a Nyksan live set at IKLECTIK after our mutual friend Concepción Huerta introduced us virtually.

What was the process like making this music? Where did these pieces start? How did you know when one was finished?

It all started with a jam. We love improvising together and it all came together quite organically after the first session. We just played music, without talking much to each other, for a whole evening and those were the initial drafts for what came to be “Desolación,” “Memory is Redundant,” and “Stone Garden.” It took us a few other improv sessions live and at the studio to sculpt the sound but the original idea was always there, from the memories to the sonic tapestries of our Latin America. This album is an exercise of remembrance. A way to hold memories present from our territory from afar, as both of us have lived outside of Latam for some years.

Nyksan: Why did you create a new alias? What do you want to do under this name that you can’t do elsewhere?

Nyksan: It has been an open question for years for me. I wanted an output for all my “beatless” music, one to integrate both deep listening concepts and harsher approaches to sound. Also, because Nyksan was first my name as a techno DJ to later be associated with TraTraTrax. It has so many layers to it but mainly started as a joke with Verraco. Just the etymology of the word “mafia” (a cross we carry as Colombians) is debated but it is likely derived from a combined Sicilian-Arabic expression that means “acting as a protector against the arrogance of the powerful.” It’s such a contradiction! But I guess it fits the ambition of Ambie–Tón of being an independent platform for ambient and experimental sounds—outside of the historically Global North-oriented axis.

Gibrana: As an instrumentalist, how do you respond to field recordings and other more textural sonic elements? 

Gibrana: I pay attention to the sound all the time and how it behaves in everyday life, so when I play with field recordings I can feel the violin as another element and I like to create an impulse-response dialogue. I like to get my brain into a zone and start improvising.

If you could pick the perfect setting to listen to this music, where would it be? Would headphones be involved, or speakers?

Most probably headphones. It’s a very moody album, one to take for a walk or one to listen comfortably to at home. We want everyone to enjoy it, but probably a hi-fi setup/listening bar would be the most ideal place. We put so much attention to detail on the composition side and we were lucky to have James Ginzburg in the mix, which totally helped elevate the project to a pristine and high quality music experience.

Are there certain kinds of sonic textures that you feel like you respond to as a listener? Do you think there is an almost ASMR-like element to this record?

It wasn’t composed with that goal in mind, it’s a very contemplative album. One that is harsh in appearance but very soft and relaxing once you delve into it. One to experience catharsis or make you want to dance to the sounds of Bogota. It's an album that has a lot of textural information, both from field recordings and heavily processed noise, so perhaps we do want people to listen more meticulously and get a gratifying response.

What kind of music have you been listening to in your free time lately? 

Nyksan: Hard to pin it down to just one kind. There’s so much incredible music being released these days. Obsessed with the Chuquimamani-Condori and Joshua Chuquimia Crampton album, Los Thuthanaka. Rare Frequency Transmissions Vol.3. Barker’s new album, Stochastic Drift, is amazing. Also, got a preview of Ehua’s upcoming album on 3024, stunning. On the darker/moody side, Doris Dana’s reveries on Somewhere Press, and I have also found myself going back to Raime releases recently. 

Gibrana: The Tiny Desk concert from Doechii, Hildur Guðnadóttir, Camille Mandoki, Lucy Railton … I have been listening to some interpretations from Kamerkoor JIP, a choir from Holland. “Negro Soledad” by Belafonte Sensacional, new music from Matias Aguayo. 

What’s the last great memory you have of existing in the natural world?

Nyksan: Páramo of Chingaza in Colombia and Kīlauea's, Hawaii's active volcano!

Gibrana: Live in La Pitaya, Veracruz, México.