1. Name: Malitzin Cortes aka CNDSD

2. Location: Mexico City

3. Can you tell us about this track?

For the past year, I have been immersed in various projects encompassing sound, art, and technology—concepts that have been chasing us and biting at our heels. Living in a bustling metropolis like Mexico City has made me question the impact of colonization and how our city would have evolved without it. I have delved into readings and explored technology to contemplate the process of decolonizing our identity. For this, I have observed global phenomena about how we live and how badly we live. For me, music is a fairly faithful reflection of spaces where culture develops and has helped me understand and express these concepts.

This EP, yet to be released, encapsulates these profound explorations. It eschews a strict linear narrative, instead relying on robust algorithmic exercises. Through this sonic journey, I venture into diverse rhythms, appropriating and comparing them with ancestral rhythmic structures that transcend genres. This pursuit aims to discover my distinctive sound within the realm of experimental electronic music—an auditory experience that can be both danceable and purely aural.

The presented track serves as a ceremonial invocation, crafted from a hybrid imagination where technology and the fusion of electronic rhythms traverse the vast American continent and Mexico. In this fusion, the DIY culture and open-source access to sound production and music play a crucial role as catalysts. They enable the formation of identities firmly rooted in sounds of the past, forging a bridge between tradition and innovation.

4. What's your process?

The process I've been employing in my music production for some time is known as live coding. Live coding is not a music genre, but rather a practice and way of writing music with source code (an interpreted programming language) to generate audio, sound, and image.

In my case I use various softwares. I am a fan of hybridizing computational tools, many of them free. I use Super Collider and TidalCycles; I also use VCV Rack and pure data tools like Automatonism, and of course Ableton Live.

I am a big fan of creating my own sounds, whether through synthesis (programming) or recording. I also work as a sound design teacher, specializing in video games and immersive experiences—my foley library is robust. When I started out, contemporary music and sound experimentation played significant roles. Soundscapes and field recordings have never stopped being part of my composition process. These elements are combined with patterns and mathematical structures, which may be more evident in code and its processes, yet are fundamentally present in our repetitive actions – akin to algorithms.

During my teenage years, there was a particular Radiohead song that captivated me. I often wondered why I liked it so much, and upon closer examination, I realized that it contained backward samples. It was in these musical risks that I found immense joy, a passion that has accompanied me since a young age.

5. Can you tell us about your scene?

I believe that the excitement of the electronic music scene and community in Mexico is indebted to its rich foundations, shaped by remarkable pioneers. While there are many worth mentioning, I will highlight a few that immediately come to mind.

The creations of Murcof and Nortec, along with the presence of labels like NopalBeat, have played a significant role. Additionally, in the realm of electroacoustic music, Antonio Russek's contributions stand out. Mexico also has a long-standing history of sound experimentation.

As the scene has evolved, projects like Naafi and others have emerged, pushing boundaries and fostering diverse genres. While there are numerous noteworthy acts, I'd like to mention a few such as Sonora Antimatter, Subreal, wavawava, and ensemble, though many more deserving artists are missing from my list.

I feel like I’m part of several scenes at once. On one hand, there's the community of live coding and musicians who embrace programming and algorithms as a means of composition and a way of life. In addition, there are vibrant electronic music scenes spanning diverse genres like ambient drone, minimal, IDM, dance floor, and sound experimentation with various mediums.

The level of creative offerings in the country is truly remarkable, showcasing a wealth of talent and innovation. It's worth noting that the Mexican audience is incredibly daring, unafraid to explore new sounds and embrace challenges to their aesthetic sensibilities. As the saying goes, there is something to cater to every taste.

After the pandemic, live concerts have experienced a revival and there is a thirst for sounds on the streets from Wednesday to Sunday (or even monday if it’s an afters).

6. Who are your biggest influences?

This question is always difficult for me because I draw inspiration from a vast range of genres. I can find myself enthralled by the infectious progressions of a Colombian cumbia accordion, but also be seduced by the delicate compositions of Pauline Oliveros or Delia Derbyshire. The rationality of Ryoji Ikeda and the explosive energy of Jlin within the footwork scene are also deeply appealing. I can’t stop appreciating Spinetta’s lyrics, Murcof’s sequences, and Magma and Otomo Yoshihide’s madness.

Currently, I love a lot of incredible developments happening in music, especially where technology is involved. Artists like Arca (though perhaps not their most recent work), Holly Herndon, and the late Sophie (a shame she’s not with us anymore) have caught my attention. I've been exploring the world of hyperpop, but without much success. I consider myself a great lover of music that pushes me outside of my comfort zone. Other notable names on my radar include Kindohm, Jasmine Guffond, Nesso, Myriam Bleau, Excontinent, Seven Fourteen, Loris, Giant Claw, Lea Bertucci, Octopic, and many more—my list is far from complete.

7. Who's your favorite artist on Nina?

In short, I think I should give myself some time to listen since there is a lot of incredible music. But I have to say that Turning Torso's music, in my opinion, stands out as some of the most extraordinary I have ever encountered within the Mexican musical landscape. It has consistently amazed me over the years, and I discover numerous captivating sounds within his compositions.

8. Any shoutouts?

I only invite you to follow my work as CNDSD in my networks. Also, listen to Subreal, the label I’m part of that puts out incredible music.

You can follow CNDSD on Nina, Instagram, and Twitter.

CNDSD - Conditional Order Interview

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CNDSD - Conditional Order Interview