- This marks your second appearance on AFTER HOURS SESSION since November 2024. Last time, you performed an ambient live set incorporating turntables, while this time you played a vinyl-only DJ set. Do you often do this kind of DJ set?
Yes, I’ve been trying to do it as much as possible lately. It’s genuinely fun, and it gets me even more excited myself. I also often perform sets that combine live elements with vinyl. I enjoy moving back and forth between different mediums while playing. That said, no matter the approach, I feel the overall texture of the sound remains consistent.
- Do you feel a difference in your mindset when performing live versus DJing?
Yes, definitely. But both are truly special moments. When I’m DJing, I feel there’s a bit more room—more freedom and open space. With live performances, on the other hand, there’s a deeper sense of focus and immersion, which is also very compelling. When I play records, there’s a different kind of “breathing” and sense of space, and I really enjoy that spatial quality. That’s why I love both. In either case, I’m always conscious of the space and how the people listening to the music are feeling. Whether it’s vinyl or a live set, the sensation of “building” the sound is something they share in common.
- Could you tell us about the theme or concept behind this DJ set?
This was my second time visiting Japan, and on this occasion I stayed for about three months, playing in various parts of the country. Before coming to Japan, I also hosted events for our label, Sonôsfera, across different parts of Asia, and took part in public events where people could enjoy drinks and food alongside the music. For this set, I wanted it to feel like a conclusion to that tour. I wanted to create a single set using the records I had collected along the way during the journey.
- How did you acquire the records you played in this set?
Most of them were records I picked up at various shops during my Japan tour, but the selection also includes records I found in Korea and ones I bought in Durban, South Africa. Wherever I travel on tour, I always make a point of visiting record shops. This time, I arrived without bringing a single record with me and collected everything locally along the way.
- Among the records you played this time, are there any that hold particular personal meaning for you, or that served as key pieces in the set?
Every record has its own story, so they all carry meaning for me. But if I had to highlight a few that were especially important, these would be the ones.
First is A・I・R (Air In Resort) by Hiroshi Yoshimura. This is a truly special record that was gifted to me by Koki from a shop called “good record club” in Fukutsu, near Fukuoka. Beyond the music itself, I treasure it for its value as a physical object and the memories attached to it.
Another is Music for Taegum Solo by Song-Jin Kim, a traditional music record I found in Korea. I consciously gravitate toward works that focus on a single instrument, and this album is particularly special among them.
In that sense, The Twinkling Star by the Egyptian singer Umm Kulthum (Oum Kalthoum) also stands out. It’s a very minimal work centered solely on her voice, yet her singing is incredibly powerful. I always try to include music in my sets that conveys a sense of resilience—a kind of supple strength.
Lastly, there’s Fleetstreet, the latest release from our label “Sonôsfera,” a collaborative album by Lujo Asiático, Koiwa, and Chasys.
- It was very striking how you freely changed the turntable speeds during your set. Were you adjusting the speeds randomly in response to the moment?
Yes, exactly. I didn’t have a predetermined set list this time. Also, since I arrived without bringing any records and sourced everything locally, I wasn’t able to pre-listen to them in advance. Because of that, I was constantly checking my feelings in the moment—thinking, “This feels right now,” or “This should come next.” I also really enjoy the sense of moving back and forth from one track to another. Sometimes two records naturally start to resonate with each other, and I love it when that kind of “conversation” emerges between them.
- You are originally from Argentina, yet you rarely return home and spend most of the year traveling abroad. What skills or mindset are necessary to make this lifestyle possible?
Yes, over the past year I’ve been constantly traveling—sharing music through live performances, residencies in specific territories, recordings, writing, and vinyl selections. It’s a very beautiful and deeply rewarding experience to share my art around the world, to encounter different cultures, different relationships to sound, and to explore diverse landscapes.
What moves me the most is meeting communities in varied environments who are cultivating other ways of being in the world through art, in all its forms. At the same time, it’s a demanding way of living—it requires a lot of attention and energy, especially with the constant movement and logistics involved.
I trust that my art is a genuine expression that emerges from within me and that it needs to be shared. If I had to name the key skills or mindset that make this life possible, I would say openness, deep listening, and adaptability—being open to uncertainty and learning how to listen carefully to each context you step into. Curiosity toward ways of living, people, and places is essential, as well as caring for yourself in order to stay grounded and share your work from a place of presence, generosity, and love.
- You’ve been on a long tour together with your label mate Primeiro, who also appeared on After Hours Session last year. Do you often receive musical influence or inspiration from him?
Yes, very much. Traveling and spending so much time together naturally creates a strong exchange. Primeiro has a very precise and hypnotic way of working with rhythm and repetition, and that deeply resonates with how I conceive looping—as a way to challenge linear time and enter a more floating, suspended sense of temporality.
We also collaborate through our joint project Feed the River, where this exchange expands beyond us and into the relationship between sound, place, and water, and inviting other artists to join that conversation without boundaries that sound allows.
- Among all the experiences you encounter while traveling the world, what do you find most enriching?
The most enriching experiences are often very simple ones: shared meals, deep conversations, long listening sessions, or moments of silence in nature. These experiences reshape how I understand time, attention, and presence—and they inevitably find their way into my music.
- Has traveling the world made you more aware of, or led you to rediscover, your identity as an Argentine?
As the great Atahualpa Yupanqui said, “we are land that walks.” That’s how I feel—tracing connections like a spider’s web, or like a fungus growing across the world, forming mycelial relationships of care and regeneration, carrying a small part of where I come from.
Yes, absolutely. Being far from home makes certain cultural sensitivities more visible—especially my relationship to community, improvisation, and emotional openness. s. At the same time, it allows me to experience identity as something fluid rather than fixed: something that evolves through encounters, shared listening, and presence.
For me, it’s also important to speak about Argentina: a territory that is often peripheral in the global cultural imagination, yet deeply affected by intertwined social, political, economic, and ecological crises. These realities are not isolated—they echo across continents, revealing worldwide shared fractures and urgencies. Carrying these realities with me informs how I listen, how I create, and how I connect and attune myself with other alive territories experiencing similar tensions. In that sense, traveling doesn’t distance me from Argentina—it makes its presence more alive and resonant in everything I do..
- Having visited many places around the world, how would you describe Japan to you personally?
Japan holds a very special place in my heart. It’s a place where attention, care, and subtlety are deeply embedded in everyday life. I resonate strongly with traditional Japanese arts and with the Shinto worldview—the respect for nature, listening, and coexistence—which aligns deeply with my own practice.
I’m especially moved by the relationship to sound, silence, and space, which are central to my research, performances, and way of being in the world. I’ve traveled through many regions in Japan, and I find the sense of community—distinct in each place—very inspiring. There is a beautiful coexistence between tradition and experimentation that continues to nourish my work.
- What plans do you have for 2026?
In 2026, I want to deepen what I am already doing—to refine and strengthen my personal practice, Sonôsfera, and Feed the River. I want to continue expanding awareness around ecological care, collective organization, and the regeneration of what we hold in common: nature, relationships, and shared spaces.
Everything I do is guided by a non-negotiable intention—to create toward a more livable, loving world for all forms of existence: human, animal, plant, fungal, and beyond.
