Jorge Gamarra - Bat Country
From audio post production, soundtrack scores, label management on his own SUR, experimenting with genres on the guitar, drums, bass, keys, and drum machines, Jorge Gamarra is not afraid to get involved.
Seemingly an introvert at first glance, he is in fact a very open and collaborative individual, charged by his creative methodologies. We find out more about his projects and the intertwinement of his musical and learning patterns to date.
Hi Jorge, how are you doing? What have you been up to lately?
Hello! I’m doing great! Digging, making music as usual, and recently I’ve started giving lessons on producing.
Last year you graduated in Sound Design... This one was mostly technical - you learn electronics, synthesis, acoustics etc., you learn how to record, produce and make all the post production for bands, cinema, video games... it gives you the tools to work across everything with audio, if it’s at a festival, theater, concerts, radio, tech companies.
Were you able to apply the skills you gained in your course to electronic music?
Yes, of course, not on the artistic side, but on the technical side I learnt a lot quicker than if I would have learnt it myself. I also studied textile design in Uruguay, at a school that really teaches you how to work creatively yet coherently with concepts. It really influenced my way of DJing in terms of telling a story, mixing tracks and styles in a different but consistent manner.
And you produced the soundtrack for a short film – ‘Estuario’ – screened during Cinemateca Uruguaya’s film festival.
I really enjoy writing these soundtracks. I made another one recently for ‘Confluencia’, which ended up being my thesis – it was a bit longer, there was more effort and thought involved. It was screened at the Cinemateca Uruguaya film festival (also in Bilbao, Pelotas and Mexico D.F.). I worked with Felipe Bellocq and we also worked together on ‘Estuario'. I based the soundtrack on concepts originating in the 20th century in the development of ambient music.
What’s one of your favourite soundtracks?
I love the soundtrack to 'Bram Stoker's Dracula', a lot. And ‘The Exorcist’ too. As you can see I really like horror films...
If you had to choose 5 tracks to make a horror playlist?
Luis Malon - Is TLM
Jorge Gamarra - 4DDS (People People Rework)
Foremost Poets - Reasons To Be Dismal (Foresight Version)
The Cartridge Family - Courtesy Car
Ed Handley - Nine Open
You sample movies in your productions, what other techniques define your style?
I think what really defines my style are not techniques, it’s the way I think and feel music. But what does define my style is hardware, I don’t get along with computers at all so I try to use it as little as I can. Jamming also plays an important part – it’s not the same as recording clips on Ableton - it gives more fluidity more intimacy, it feels more real.
To what extent do you think producers or even DJs should take some kind of music course?
I think everyone has their own way of discovering things and learning, studying is just a shortcut. I’d always encourage producers and DJs to seek knowledge about what they love, but it just teaches you the technical stuff - it’s one side of the story. In my opinion you should also be creative, you should practice that creativity and stimulate it. There’s also the cultural aspect that teaches you where all that information comes from - knowing the how, who, why, when and where which makes you better understand your subject and treat it with respect. So basically yes, I think it’s a good idea but for sure making a course doesn’t guarantee you anything or teach you everything.
When you were a teenager you played in several rock bands.
Yes, the band thing happened in my teens, but I was playing the guitar since I was a child (no more than 10 I guess). I also had drum lessons for a few years and taught myself how to play the bass and keyboard, just the basics though. During my teens I played in a few bands - on the guitar, percussion in a reggae band. I guess I’ve always been experimenting with music, no matter the genre.
Name one of your favourite guitarists.
I really like Brian May from Queen, he has a unique style, recognisable every time.
You once said, “I come from the song, the melody, that’s what drives me the most in music”...
Mmmm, I like catchy melodies. One that's been in my head lately - it's a track on the podcast "Brain Damaged" by Reade Truth.
You drew the dots between Argentina, Uruguay, Berlin and Barcelona through the releases on SUR. Why did you angle it in this way?
We took that turn because we come from the same place, more or less. And we have the same way to feel and experience music. Somehow, when we moved to Europe we felt the need to create a link, not just to present our culture and our point of view, but the other way around too. We love to make this contribution to our scene, to share what we love. Now we've been living here for some years, and we need to broaden the concept – you’ll get a taster of this with our upcoming releases next year.
Would you say Barcelona inspires you musically?
Yes of course, I love it here. It's really like living in Uruguay, for the social aspect, the weather, the language, but with the living standards of Europe. There are a lot of good record stores, and I can't think of another city where I can rent a studio with a sea view and nice people around.
Do you remember the first few months in Barcelona - was it an easy or challenging adjustment?
Moving away from home is always hard, more so if you are 15,000 km away. Like I said, the way of living is not that different, and there are a lot Uruguayans here so you can feel like home if you want. But yes, the first year is the hardest. Then you build your life here and it’s great. You always miss friends and family but you get used to it.
If you had to pick a track to define that beginning.
Elecktroidz - Magnetic Field
And how about a track that reflects your current state of mind?
Eduardo Mateo - El Trompo Loco
Thank you for sharing a podcast with us – would you like to introduce it for us?
I really like to explore the sounds of a city or country in certain periods, knowing the context and the history behind various music styles helps me to record a podcast. What also comes to mind is the music that I’m listening to and playing in that moment, and the records I’m digging. Most of the tracks in this podcast are UK productions - a lot of breakbeat, some electro and house, old and new.