Interview

October 30th, 2024. 17:00 hrs (GMT+1), Vienna, Austria.

Today marks two months since Fin del Mundo’s “Hicimos crecer un bosque” was released. And to commemorate what personally is one of my favorite albums of the year I wanted to share with you a conversation I had with Julieta “Hache” Heredia, guitarist of the band.

Up front, it was a very fun and long conversation, where we talked about herself and the band’s story, the process to build this record, and even the technical side of it, but sometimes we also went slightly off track into influences, our fav genres and bands, Argentinian literature, or even the literal end of the world and the perception of life and music through different spectacles.  

But let me stop myself here and let you read this interesting chat.

Well, first of all, how are you? I imagine you are very happy with the new album. Hicimos crecer un bosque.

Julieta “Hache” (H): Yes, we are happy with the premiere, which came out very recently and we were traveling a lot this year, we just came back from Chile which was the last presentation, so very happy with everything that happened this year, many activities.

Yes, your career and path in such a short time is very incredible, isn’t it? Here at my place, I’ve had the album on an infinite loop since Berto sent it to me to review it. I simply loved it and I couldn’t wait for it to come out and for the world to listen to it exactly as I did. So, I’m also very happy that it’s out now, honestly.

H: Thank you so much.

Sure. For some time now I have been following a music journalist here in Mexico, named Susana Medina from a podcast called Mezclas Abruptas that I love, simply because she always asks very random questions to break the ice and one of my favorite ones that I want to ask you is.

So, the premise is: Imagine that you are a multi-instrumentalist, hence you can play whatever you want and so there are no limits there.

If you were a musical instrument, what would you be and why?

H: Well, besides the guitar, not to say the obvious, I really like the vibraphone, I love the band Tortoise, which always has two huge vibraphones, and every time I saw them live when they came to Buenos Aires, it’s like an instrument that really catches my attention and in fact I always wanted to have some, a bit impossible, they’re huge and very expensive.

I love the sound though, and in that band particularly, I like so much how they use it, I like it a lot.

Definitely, it is a very, very interesting instrument. In Mexico, I think we call it Marimba or I don’t know if it’s the same instrument, probably from the same family, you know?

H: Yeah. The Marimba is made of wood and the vibraphone is made of metal, there must be some differences, but there are many similarities and variations, and when I found out which one Tortoise used, it was a vibraphone, so there it was.

Have you ever played a vibraphone? Or was it just an idea?

H: No, I had a small version of a glockenspiel. It was a metallophone of perhaps 2 or 3 octaves, but hey, you can’t compare size and tubes and all that.

Yeah, sure, they’re huge, aren’t they? A mega table with a bunch of tubes, how cool. What an interesting choice. And Tortoise, a great band too, of course.

Anyway, let me remind myself where I was going. Ah yes, it seems like all this has happened super-fast, like overnight, but I know there is too much work behind it.

So, I would like you to tell me, how do you feel that everything has changed?

Since the first time you made contact with music or an instrument, the first bands you played with, then Fin del Mundo, of course, KEXP, up to now with Hicimos crecer un bosque.

H: Well, with Fin del Mundo, it’s true, we’ve been together for a few years, the band was formed five years ago. And four years ago in 2020, the first EP came out and everything happened quite quickly. But it is true, that each of us comes from many previous projects, almost

20 years playing in bands since we got to high school in different cities.

We met here in Buenos Aires, but well, each one of us comes from different cities/provinces in Argentina, and I think that’s what happened, that each one of us added a lot of experience and knowledge of self-management from our previous different projects, which helped us a lot to no longer be a “new band”, [although] we were, but each member came with a lot of previous baggage so that made things a lot easier and at the same time, the fact that we were already recognized from those previous projects, also facilitated the progress.

The drummer played bass in a band also from the Buenos Aires underground, which was very well known, Temporada de Tormentas, and then with her, I had that other project, which was called Boedo; the singer Lucía also had different bands that she had had over the years, more punk-oriented and Yan also punk/hardcore, so that’s where we gained a lot of knowledge, contacts, and good friends. … but it was something beyond what we could have imagined because KEXP changed all the exposure we had as a band, which was also a dream come true. We couldn’t believe how quickly it went by because it was thanks to the fact that the radio station traveled to Buenos Aires, Argentina to record those sessions, otherwise, it would have been also impossible to access.

We were lucky that just when we were starting out, the second EP was coming out, this project came up on the radio, we were selected… it was an invitation like that, we couldn’t believe it and it’s what changed our lives. Because the band was doing “well” already, we had been playing in different places around Argentina, but we didn’t have much more in mind like going to other countries or so on. For a band that was independent or self-managed, it was too difficult but then, the session had a lot of airplay on their channel, and as always they have many listeners/viewers, they got to know us from other continents and other countries.

Thanks to that, we met Berto from Spinda Records and he invited us to be part of its catalog, we were able to go to Europe, and small steps were taken, as a result of the KEXP session that helped us reach many places that we would have never thought of, so well, that was it.

Sure, yes, I mean, I declare myself a fan anyway. Since KEXP came out it was crazy, it was amazing to see that, and also how quickly it did numbers. It was destiny I think, because we are very grateful that KEXP happened, we as audience, fans, music reviewers, whatever you want.

I said, “ Wow! This is lit!.”

 H:  Well, we even were very lucky with the space we got, because we were the first band of the day, playing in the smallest room, like, in the cultural center, which is huge, the largest in Latin America, there were giant rooms for like a thousand people with wooden acoustics, where there were other sessions of that same cycle. We then were assigned to play on the top floor, the smallest one, but in the end, it was the one that looked the best because it was at noon, with a cloudy day and the city in the background, I mean, all those things benefited us a lot. Eventually, we took advantage of it, and we enjoyed it a lot. We are very happy with how the edition turned out, how beautiful.

Yes, because deep down it seemed like everything had been meticulously thought out, but everything seemingly fell in place to end up looking like that, wasn’t it? With the city behind you playing, that session was wonderful, really.

A bit along the same line as the previous question, but also trying to outline a

a little more background. If today were “the end of the world” (el Fin del Mundo) and your life as a band passed before your eyes, what would you see and what sensations would you have?

H: Well, luckily, these last two years we have had incredible experiences, dreams came true, surely the day of KEXP is like a very important moment and also the tours, the countries we visited, both times we traveled through Europe, although obviously, we would also like to travel much further next time, but it was crazy for us, going to France, Switzerland, all the cities in Spain that we visited.

And moments to always remember, in this last strip in August we played at the Nox Orae festival in Switzerland, which was incredible, we knew it was going to be very beautiful, yet we were surprised by everything: the place, experiences, we navigated through the lake, we even filmed a session in the middle of it, a beautiful day, one of the best I remember with the band, and well, every place we go, eg. Mexico, we went for the first time now in September, and also every show we had, the people we met in Brazil, in Chile, it is a privilege to be able to do this with music.

Living the dream, right? So to speak.

H: Yes, that’s right, we are. And kind of looking back, if it was the last day of the world, looking back at everything we’ve done over the years, we are more than happy. Obviously, we want to keep traveling, but so far, I’m very satisfied, yes.

We understand the privilege that this is, particularly at this moment considering what our country is going through.

Wow! Yes, I know, because I think I was reading about the first time you came to Europe, you had come with a government support fund and I was trying to investigate a little more, I don’t know if that fund still exists or because of the current unfortunate politic environment in your country, I don’t know how is that going to change, right?

It’s a bit, how do I put it…?

H: Of course, as this is the INAMU, which is the National Institute of Music, luckily it continues. It is still in existence, but surely the funds will be cut, like everything else in the cultural sector. And yes, in the last few years before this change of government we had many free cultural activities, in the case of what happened with KEXP it was also thanks to the Ministry of Culture, so well, we hope that things change again in a different direction than the current trend.

Yes, yes, we cross our fingers, the truth is, as Latin American brothers, we hope that Everything will be better soon. But anyway, it’s better to leave shady issues aside. And let’s talk a little about the album, that’s why we’re here.

I also read a little about the creative process you have, which is very collaborative and I think is pretty cool. Everyone contributes their ideas, develops them and as you said, everyone has different influences or tastes. But I would like to know what differences you experienced between the composition of the first two EPs, which eventually became the first album, and the current one.

H: Yes, in the first EP, we didn’t know each other, we were just starting to meet, I only had experience with the drummer from our previous band, but the formation, well, we had Yan on bass and Lucia singer, guitarist. Everything went fast and we got along very well in the way we played. It happened very, very quickly between the moment we composed the first songs and the moment we recorded them.

But well, we were still getting to know each other and also saying that these songs were like the most urgent songs, that perhaps we had them already, and been processed for some time now, although they will finish being configured within the band, where we compose between the four of us.

And in the second one, well, we wanted to make a full-length one, but the budget wasn’t enough, it was like we were still a very underground band, self-managed, and the second one ended up being an EP as well, which we then put together with the first EP as an album, which luckily also had a logic like it doesn’t seem so different, it works, let’s say it works as an LP as “Todo Va Hacia El Mar”, but a bit by chance, as I mean, we didn’t think about it beforehand, as if it were an album with 8 songs.

So, the main difference between that one and “Hicimos crecer un bosque” is that we already knew we were going to make a full-length album, we thought about it in the order of the songs and more than anything when we had maybe 5 or 6 songs, we imagined what was missing to complete this album, already thinking of it as a whole, so for me, that is the main difference.

And as for the sound, it follows a continuity, I think, with the first compositions, perhaps we go a little deeper into these influences that each of the members has, where on the one hand we like post-rock, and there is a more instrumental theme in this case, there are some that have a little more post-punk, emo, or shoegaze influence, and perhaps each one goes deeper on that side, but that also happens because there is a lot of freedom and anyone can propose ideas and we compose everything together.

Well, and the recording perhaps on the other hand, we also did everything concentrated for a week in the same studio, which unlike the previous one, which was being recorded in different places, was beautiful because we had a fixed workplace, a very nice studio at Buenos Aires, Gustavo Cerati‘s  Estudios Unísono, and we gathered a very nice work team, with guitar technicians, drums, bass, the recording engineer, and Nicolás Aimo who did the mix for us, so the whole recording process was also very nice.

Yeah, okay, so this time it was, like you said, focusing on making an album, a full LP. Still, I think I remember that you already had one new song at the KEXP session, I think it was “Cuando Todo Termine”, that song was already floating around, I even think you said that you named it that same day, but I guess when you sat down to record it, it was like, -well, let’s finish this the way it should be-, and also, I think the importance of choosing a great team, right? Like you did this time.

H: Yes, that’s right, and well, “Cuando Todo Termine“ is the first song on the album that we wrote just a few months before the session, and the rest was written over the course of two years. We finished writing it there at the beginning of this year just before recording.

That’s cool. Also the whole tour, well, all the tours and concerts you’ve had, I guess it had an influence in some way, but maybe I’ll go back to this point later.

In terms of lyrics, for example, I know that Lucía is the one who sings and I don’t know if everyone is also involved lyrically speaking, but well this time it is also more noticeable, I don’t know, the depth in the emotions that you provoke, I don’t know, obviously accompanied by the music that well we already talked about, but lyrically, are you all involved too? or is that more like on Lucía’s side, what is it like? How is it there?

H: Yes, she oversees writing all the lyrics and usually there are some changes… first the composition part of the music, or the full lyrics by Lucía, maybe sometimes some words first, and then some things are finalized by everyone, but yes, she is the main person in charge of the lyrics.

And on this album, yes, also for the same reason that we said that we were already thinking of it as an album, it had more, perhaps more, like the intention of telling a story, from beginning to end, themes that become recurring there, but yes, very, very happy with this result.

Sure, yes, and how could you not be? I also remember, in the previous one you had references to Argentinian literature, such as Alejandra Pizarnik, and for example, have you thought about doing more references to Argentinian writers? I don’t know, Mariana Enríquez, for example? Or someone like that, not only to promote Argentinian literature, but also to adapt other texts, or maybe it was just a one-time thing because you thought it was good, you thought the poem was nice, or something…

H: Yes, Mariana Enriquez was present when we were looking for names, because yes, I mean, well, there is some sort of link with her. She once recommended the band, we like her books, I mean, it was very nice when she mentioned us, the fact that she recommended Fin del Mundo.

And well, we also liked the whole result and effect mentioning Pizarnik and Alfonsina Storni, in another song, had on the first album. And we thought about using their poems in the songs, because also, thanks to the exposure that the album got in other countries, there are people who perhaps did not know Pizarnik or Storni and wanted to investigate, and that seemed very nice to us.

And well, also when we were thinking about song names and the album name, which was taking quite a while at that point, we thought a lot about Mariana Enriquez, in this case, well, it didn’t work because there wasn’t such a direct reference in the lyrics, but it could surely happen at the next club.

Wow, that’s cool. Glad I asked you this then haha.

Also a little aside, I think that your music is characterized by evoking landscapes, and emotions, and sometimes as an audience we give it various meanings, right?

And in this case, while I was reviewing the album, it seemed to me like a whole elegy, I don’t know, a story of loss, of change, of moving forward to something better, to making a forest grow, right?

A comment from the review that caught my attention said, could it be that the forest represents all those relationships we build throughout life? What do you think about that?

H: Yes, we thought a lot about the concept of the collective, of overcoming turbulent times in a collective way. The idea of the forest, as if against the individuality of these times as well.

So, yes, it is a concept that we always had in mind when we were thinking about the history of the album, the name, the names of the songs, everything crossed by the idea of the collective, of a refuge (Refugio), of perhaps being isolated in distant areas, but always with the idea of a community…

It’s funny that you mention the collective, it reminds me of Austin TV’s rhizome concept, doesn’t it?, now that You’ve been playing with them sometimes. And it’s also very nice that you mentioned “Refugio” because it’s one of my favorite songs by the way.

And it was in the summer, what is usually done around here in those days, is to go to the Danube Canal, sit down to have a wine, a beer, etc. And I was with a friend, and he asked me like, -well, if you had to choose a genre that was your Comfort Sound or your comfort genre, which one would you choose?- , and I was like, -well probably instrumental post rock-.

And I found it fascinating, without knowing yet the name of the song or that you had made the song, that the instrumental post-rock was “Refugio”, I thought – Is it a sign? I don’t know, will I mention that in the review? Or should I keep it to myself?-. So well, I think that now you are the only person besides my friend and me, who knows my mental process while I was listening to that song.

[Now you, reader, know it too!]

H: Thanks, yes, it’s my favorite too. It’s what comes from my side, like each one drives a particular style and what is my favorite is post-rock as well.

Awesome, how cool.

And now that you have played in various places, not only Latin America but also here in Europe, do you think that the songs have taken on a different meaning? Or that the change of context has mutated the songs or the meaning behind them?

Or is there nothing that affects them in the first place? What do you think?

H:  I think it’s pretty broad, like open to interpretation, the lyrics don’t speak a lot about specific situations, like nothing with name and surname, but rather we try to make them a little more universal so that they can be identified in other countries of the world too, as happens to us, I mean, maybe we don’t think like that because we didn’t know we were going to be able to reach so many places.

But yes, within Argentina, because half of the band comes from Patagonia, Chubut, and Tierra del Fuego, and we aimed a lot at those landscapes, those climates in which we composed. But then, we were also very surprised that in other places on the planet, they also felt identified by something that for us refers a lot to something very southern Argentina, but well, in the end, it is also open to interpretation and we really liked finding out that many people from so many different places could identify themselves or their own places, and also thanks to the fact that it has a large instrumental part, it is breaking the language barrier there and being able to reach more places.

Exactly, exactly. Yes, it can be recontextualized musically, very simple, and you, as a listener, can project your own perceptions or ideas, right? When I shared the album with my best friend, she explained to me the whole movie that went through her head while she was listening to it, it was exactly like our friendship when I left Mexico City to come here and so on…

So, I think it’s the power of, not just the music, but I think the power of your music as a band that I would also like to emphasize, and I can’t stress it enough, it’s a great power the one you have.

H: How nice. Thank you. It is very much the case of the band that, just as you were saying, the different interpretations are also divided within the band because for example, every time the drummer, Tita, when we are about to play that song “Vivimos Lejos“, talks a lot about this thing of relationships, friendships, family, that are in distant places, ehh maybe for her it is the main concept of the album, but for others we associate it with other things like perhaps something more apocalyptic, or science fiction, or something completely different. But well, it is very nice to know that it is interpreted in different ways and that some coincide.

[To the reader: This is a good point to listen to the album and imagine your own movie.]

That’s cool. Also, well, back to the interview because I can get sidetracked. And my mind can send us to other places, so I have to go back. Haha

Also, not only have you played in different countries, but you have also played with super cool bands from all over. Now, I suppose there will be a tour to promote the new album, who would you like to share the stage with?

H: I would love to open a show for Mogwai anywhere. They came several times to Argentina, but they haven’t come for a while, but well, yes, like dreams to fulfill, we all really like Mogwai, Explosions in the Sky, then… well, the girls also have other tastes, more for other styles, I mean… well, a band from Spain that we love and share a lot with, Viva Belgrado, we have followed them around the world almost. Recently we were in Chile and Argentina, but yes, if any pending issues left, I would put Mogwai, who is about to release an album.

Wow! Yeah, yeah. Oh Godspeed, huh? Godspeed You! Black Emperor, I’d be crazy.

H: Oh yes! Of course, it’s more difficult. They’re starting to tour again, because they don’t play much, and I’d love to too. It’s my favorite album of the year, the one they released now.

Wow, yes! Wonderful, a mind-blower.

Along the same lines of collaborations and that same theme, the collaboration with Guille also seemed crazy to me. I mean, I can just imagine the excitement of singing/playing with one of your idols from your youth and it makes my skin crawl, just the idea, seems crazy to me.

And now, let’s imagine that everything is possible, who would you like to collaborate with in the future? We already mentioned several bands, but for someone who also goes with what Finde is or what you project to be, what would be your wishlist?

H: Well, I always say the same thing, but I mentioned Mogwai, Stuart from Mogwai, Explosions in the Sky, but… I was thinking before, …, there is a band from Argentina that I really like, Los Natas, but that is more of a personal dream, it has nothing to do with the style of Fin del Mundo, but it is a band that also, hopefully, will come back at some point.

Yes, it’s fine. Nothing wrong with dreaming.

Same, something that we were just mentioning, influences, and so on, every time I read interviews or reviews of bands that I like, something I like the most is reading about

recommendations, that is how one discovers more bands, right?

So, the two obligatory questions are, well, we already talked about bands that inspire you in general or that you like, but Does this particular album have some band that inspired it, or was it also like a mix of all these influences?

Also, what bands songs, and artists, are you listening to right now?

It may be of the same genre that we have been already hovering over throughout the interview, but it can also be whatever you want, I don’t know, pop, jazz, etc.

H: Yes, for the album itself, there was not a specific one, but yes, as always, our favorite Post-rock bands, like Mogwai, especially on the guitar side and Slowdive, more on the Shoegaze side, which also has quite a bit of influence, but it’s also quite broad, we also have a lot of influence from Sonic Youth, more in the alternative music side, from Él Mató a un Policía Motorizado, of course always very important and relevant in Argentina.

And the bands that I’m listening to this year, I really liked the album by Las Nubes, which is a band from the United States, well, the singer/guitarist also has relatives from Argentina and sings in Spanish and English, they even have a song in Portuguese, it’s a very nice album, it’s one that I listened to a lot this year and well, the ones we already mentioned from Godspeed You !… also, my favorite album of 2024.

I’ll make sure to mention that this album is THE album of the year. Haha.

And a little more anecdotal, I can’t imagine what it’s like to live in Chubut/Tierra del Fuego. What’s life like there? Tell me, what’s it like in general?

H:  It’s very extreme, I grew up in Tierra del Fuego, I was born in Chubut and my family lives there, but I grew up from the age of two to 18 on the island of Tierra del Fuego, and it’s a very extreme climate, it’s a beautiful place, very nice but living there is a constant winter, almost all year round it’s winter or autumn, as there aren’t many seasons, a lot of wind, very pretty landscapes, wide and very few inhabitants, far from all the big cities, but that’s an experience that leaves a great mark on the people who grow up there and live there.

I would love to go back, it’s been a while since I last went back, …, but yes, it’s a pretty magical place, you have to go in the summer where it’s maybe 15 degrees at most, in January, well, or if you like snow, also all year round, mountains, snow, sea. I’m in the northern part of the island where it’s mostly plains and sea, there are no more mountains, a lot of wind and that’s also why there’s a lot of cultural activity because the city is a very small city, maybe 100,000 inhabitants but also because of this extreme climate all year round we end up doing things inside the house and there were a lot of bands, I lived there until I finished high school only but there was always a lot of musical activity on the island.

Ah yes, of course. You have to entertain yourselves with something because the weather outside is really shitty haha.

H: Haha Yeah, I was imagining myself like in Iceland, like Sigur Ros.

Of course!

H: … like Tierra del Fuego island with Iceland, I haven’t been there yet, I have to go to Iceland to see if it looks like it. hehe

Yes, it’s on my list too. You read my mind because my next question was going to be if you think that these landscapes and climates affected you similarly to what could happen in Iceland or the Nordic countries.

Do you think that these same open landscapes, unpopulated, and this type of climate, must have something to do with the way you/they sound?

H: It was probably something unconscious, because especially in the instrumental parts of our compositions, people tell us that they refer a lot to the landscapes of the south and the wind, even if we hadn’t thought of it that way from the beginning, but for people perhaps from Buenos Aires, from the north or from the center of Argentina, supposedly without having lived in the south, they told us a lot that our music referred to those landscapes of the south. And perhaps also those more spatial sounds, more reverbs, that point to more unpopulated and wide spaces, as if they contradict themselves with a city where everything is faster, perhaps I imagined that as if the rhythms of the city are more Pop-Punk and southern Shoegaze.

Yes, I have that theory too, I have that real perception, I mean, the landscapes completely influence how it sounds, because when I listen to Fin del Mundo, I think I wrote it in the review, it just makes me think about staring, not into a literal abyss, but staring the end of the world, standing there in Tierra del Fuego and seeing the end, I mean, it projects me something like that.

Well, I think we’re doing pretty well now. Is there anything you’d like me to ask you that I haven’t asked you, or anything you’d like to mention or share?

H: Umm, maybe. Well, I always like to talk a lot about the gear and pedals we use, haha, and if anyone else is interested, we really like it.

Cool, sure, just let go haha.

H: And well, it was different at the time of recording perhaps to what we are doing live, because when we recorded the album we also had a lot of instruments and pedals that were brought for the occasion, most of them from our guitar technician Manza Esain. So that was one of my favorite days in the studio when it was full of pedals, 50 pedals, 10 guitars, amplifiers, and everything to choose from. And that, a lot of pedals that greatly influenced the sound that was recorded. Those pedals, a brand called Chase Bliss, in particular, and JHS. And well, the guitars, in this particular case, live we always use Jazzmaster and Mustang. Lucía also used Telecaster, but I think that as these years go by we are also experimenting more with pedal and guitar sounds, which is something that we enjoy a lot.

True, I remember I think it was Tita herself or in the Fin del Mundo account, that you went live and you were like a little girl in a candy shop, seeing all the pedals and I remember connecting to it for a few minutes and I was like – yep, this is going to sound really badass, this is going to sound really cool -.

H: Yep, very fun, indeed, hehe.

I imagine, yes. When you have to play live Do you have to kind of dilute or digest the song a little more, per se? I mean, because in recording you have all these options, as you mentioned, but to play live you may have fewer or you are limited.

Do you have to change how it sounds and adapt it somehow? or is it not even necessary because you carry everything? what’s the difference?

H: And even if it were, that live we have other instruments and other pedals, we try to adapt it a lot so that it sounds similar to the album, I think we are achieving it. But yes, obviously, there are some sounds that are different live. Well, the rhythm is always exact, because the drummer goes with a click, with a metronome, so that is the objective, because before it used to happen and sometimes live it speeds up a bit more because of the excitement of being on stage.

That doesn’t happen, but we do feel that perhaps there is more intensity of volume and strength when we play live.

Wow! I can’t wait to hear you live one day. Well, I think that on the next tour in Europe, I hope to play here in Vienna, and if not, I’ll have to escape to another country.

One day I will be able to see you, but I’ve already heard this comparison between live and record from all my friends from Mexico who went to see you. Basically, everyone was delighted. So, I can imagine how good you must be live.

H: Thank you, I hope we can now go to more and more cities and even more countries.

Sure, I hope so.

Well, now tell me, you were telling me that Berto from Spinda Records contacted you after the KEXP session, right? How did the contact happen?

H: Yes, it was like that. I think that the same day he saw the session he liked it and the next day he sent an email. We had a meeting, and a video call, and in fact, that was the first label that sent us a proposal and it was incredible. I mean, we didn’t have to think about it because we saw the work he did with other bands, which we really liked, and then, once we met him in person and we were able to tour Spain, it was all incredible.

We are very happy to be part of Spinda Records, for the edition, the physical editions that both were beautiful, and also for the part of the booking that makes for us every time we travel, and the Tour Manager who organizes everything, great, very happy to have met him thanks to the KEXP session.

It must have fallen from the sky. Have you already looked for another label before? Or was it really the first one that arrived and he hit the lottery with this call?

H: Yes, it was quite a bit of luck. I mean, yes, we had received proposals from other independent labels in Argentina that don’t do physical editions, here it’s much less common for them to do physical editions.

So, it was only for digital distribution issues, but as we, already knew how, I mean, we took care of that within the band, in the end, we didn’t sign with a label, we continued recording it independently.

And yes, what we liked most about Spinda Records is that it offered us directly to do the vinyl editions, cassettes, and CDs, which we loved to see, which is not so common over here.

Really!? I wouldn’t have imagined that it wasn’t so common, I mean because in Argentina a lot of music is consumed and a lot of music is exported, I imagined that the physical market is, well, as big as, I don’t know, even Mexico City.

However, Spinda Records has brought out some pretty nice editions.

[The link to purchase one of the lovely editions of Hicimos crecer un bosque and the reissue of Todo Va Hacia el Mar, here]

Anyway. Well, I think I have enough with this to put together a fairly extensive article. It was a pleasure to meet you, Julieta. A big shout out to Berto for doing all the work he does, for promoting bands, and for putting us in touch.

I am very happy with this talk, it was very pleasant, and very chill.

H: Thank you so much.

Cheers to the rest of the band and I hope to see you around here soon.

H: Yes, I hope we can go soon. Thank you very much. Bye.