ZutZut is what happens when the world is going to hell and nobody seems to give a shit about it. I’m not saying ZZ is an activist or that he gives a shit about it more than any of us, but the guy has a keen understanding of the unspeakable bullshit that has been going down more or less since the Sumerians inhabited this (allegedly holographic) reality. You know, I’m not just talking about the Anunnaki or the New World Order’s latest poster boy and MK’ed airhead.
At first sight, Alejandro Nuñez may seem like your standard swag-dripper from Monterrey. But once you get to know him and blow past the standard “clima, política, jainas y mota” Mexican convo, you realize he’s really about some heavier stuff. There’s a truly fucked up reason behind everything ZZ does – even behind all those hours he spends watching extradimensional bionanotechnology conspiracy videos on YouTube (which have most definitely influenced his mindset and worldview). But at least he does it all for his own agenda, not just entertainment or unhealthy curiosity.
Because of this, actually, we became very close friends (I’m definitely also on that conspiracy theory trip…). So, I decided to reach out to this brother from another mother on behalf of Remezcla, to ask him all about his new beats, and what he’s up to now that he’s officially released his first self-titled complete EP.
ZZ, what’s going on with this new release of yours?
Basically, this EP is built upon all that stuff you already know: the saturation of information, terrible governments and bad vibes. But it’s also about de-contextualizing cultural icons and caribbean sounds. “Pazuzu” pretty much makes this clear, since it’s a song made with reggaeton samples, but at the same time, it has nothing to do with that genre.
Extasis Records is promoting this release as “an apocalyptic paradise that restates Latin Bass”. What does that mean?
(Laughs) Well, that’s mostly my label’s input, but it is no secret that these are apocalyptic times, and to be honest, I wouldn’t expect less. I like creating harmonies in the middle of the dark, and the saturation. This EP is dominated by a very heavy dark vibe but there are also melodic oases that might as well skip a heartbeat or two.
As far as Latin Bass… well, personally, the concept of “bass music” doesn’t help me in any way because it’s very ambiguous, but as far as information flow, internet, etc. goes, I do think it is the best niche where it fits.
I don’t see my EP redefining anything, but rather [see it] as a part or a piece of something much larger, which is all our crew (Extasis, NAAFI, NWLA), and I definitely feel like, altogether, we’re redefining music in synergy with producers from all over the place.
I feel like there’s a new, strong undefined generational sound on this EP, that other producers like Paul Marmota have been simultaneously aiding in its development for quite a time now…
¡Órale! That’s interesting…
What other artists do you think are also contributing to the improvement of this specific sound and scene?
The truth is we all make very different things that, once they’re put together, become a thing. So, I couldn’t possibly tell you who I think I sound like or who sounds like me. On the other hand, I’m not sure I’d dig it if a scene forms with a specific name, sound and the whole deal, mostly due to the fact that I enjoy the constant exploration and that nothing is sharply defined.
Still, I clearly feel identified and share personal tastes with many different producers and friends, which are those who I normally hang out with, such as yourself.
All of the artwork that rounds out this release is dope as fuck. Did you do all the artistic direction too?
Thank you very much! As far as the EP’s artwork goes, yes, I did make it. It is part of a new series of prints limited to 10 pieces. The other stuff is a collaboration I did with RIP exclusively for DF.
What’s going on with “The New Era ov Extasis Records” 2014 speech, man? What’s next for you?
Well, there are some interesting releases coming soon that will be composed of the undefinable rhythms that characterize the label (laughs). I believe Extasis will continue acting as an important catalogue of Mexico’s underground electronic music, but at a slow-paced yet accurate rhythm, like most indie labels in this country.
