Veneno Sonidero is a very particular and interesting project because it allows us to anchor our taste and musical knowledge through research. Today we talk to Lenin who explains to us more thoroughly how this wonder works.
Astrid: Why the name Veneno Sonidero?
Lenin: At first the project was called El Sonidero, inspired by the sound culture of cumbia in Mexico. Within this movement, the sonidero is the one who turns on the rumba, as Dj and master of ceremony. Over time I added the “Veneno”, which goes with the aesthetics and concept of the project: music recharged with poison of the good; Musical poison that does not kill, but strengthens at the tip of party, dance and joy.
Astrid: How long has the project existed and how did the idea originate?
Lenin: The project was born in 2015, as a radio program. At the time, the concept of the show was based on a global musical journey of one hour, through various rhythms of the world. Always based on musical miscegenation and fusion, from the beginning the idea was to disseminate little-known music from the five continents, from an investigation that encompasses all the cultural elements that surround and influence each rhythm.
Astrid: Do you work with vinyl records and other sources?
Lenin: Despite being lovers of vinyl, collecting and working with this format, our main source of research and music collection is digital platforms. The amount and variety of music that is particularly on Youtube is immense, this complemented with the information we investigate, are the main tools we use to generate content. The accessibility of digital platforms makes much of our work possible, but all the aesthetics and concept are based on vinyl culture.
Astrid: How many people make life in this project?
Lenin: Well, from the beginning I have mainly carried it out, as a personal project. Also since the project was created, I have been surrounded by people who have collaborated in one way or another, always seeking to generate alliances that enhance the dissemination of good music. We are currently working side by side with Plátano Estéreo, a project specialized in vinyl and that has a line that goes hand in hand with our musical vision.
Astrid: Is it worldwide or only in Venezuela?
Lenin: The project is designed from Venezuela for the world, from a symbiotic perspective. The idea is to contribute to Venezuelan musical culture with the dissemination of rhythms little explored or little known by most people, but also to bring a little of the extensive Venezuelan and Latin American musical culture to other latitudes. With this premise we have been making a connection with musicians, producers and music lovers from different parts of the world, constantly feeding each other through universal language.
Astrid: Have you had collaborations with artists outside the project?
Lenin: As I mentioned before, from the beginning we have created links with people who have collaborated and contributed in some way to the project. Among the closest allies we have had is DJ Hache, emblematic figure of diggin’ and hip hop in Venezuela, with whom we have made several interesting collaborations, mainly with his project Club Vinyl. We are currently joining a new alternative musical movement that is emerging in Caracas, where an important alliance was created with the corduroy Marcel Márquez and his project Trópico 70.
Astrid: What would be the main objective of the project?
Lenin: The main objective of the project is the dissemination of good music, seeking to return to the essence and transcend what is imposed by the immense music industry that defines global trends. From this general objective derives everything that encompasses and defines the Sonidero Poison.
Astrid; Is it merely virtual or do you also hold events or festivals where people can attend?
Lenin: Our main medium is virtual, that’s where we develop all the research, collection and dissemination, both musically and visually. But what we have always liked is that people hesitate and enjoy the music we play, so the live performance has always been important. Currently, with this reactivation of the movement in Caracas, we have been very active placing music in several events to which we have been invited. A little less than a month ago, we participated in the great music fair “Caracas Ecosistema Musical”, which brought together a lot of people related to alternative music within the capital.
Astrid: What aesthetic defines Veneno Sonidero?
Lenin: Our aesthetics from the beginning are closely linked to the aesthetics of vinyl records. The covers of the vinyl albums are our main graphic influence, hence we have built all the visual part of the project. From there, we began to relate to an aesthetic with a lot of influence of the cumbia culture, from there comes our logo and the main part of our graphic line.
Astrid: What genres do you mostly bring to life in the project?
Lenin: As I said before, we have had a special love for cumbia since our inception, so it is the most recurrent genre within what we release. Cumbia is the most listened to rhythm and with the greatest presence within Latin America (from Patagonia to the Rio Grande), so it has an immensity of variables and a lot of fabric to cut. Beyond cumbia, we have been investigating a variety of rhythms that come from different parts of the world and that have in common the impact they have on the musical culture of each country or region. Our mixtapes are thematic, and there are from ethioJazz (Ethiopia) to guitarrada paraense (Brazil), to give an illustrative example of the diversity of rhythms and regions that we have hesitated. The process of research and dissemination of music is almost infinite, so we are always discovering and incorporating rhythms.
Hoping you liked this article and that you can share it with music lovers! I say goodbye and see you next time!
Social media:
Instagram: @venenosonidero