—This album may be completely new for someone who has just listened to some of the previous three, but for us it has a long way to go. They are songs from many years that were already completely closed in structure, harmony, lyrics, and that, furthermore, we liked them a lot. We just couldn’t find a way to get them into the electronic beat format, until we realized that they didn’t need it, so we decided to make this album more stripped down, with guitar, strings and voice to be able to share them. We called Joel Tortul for the arrangements and he shut us down all over the place. We know that from a communicational point of view, if you like, it can be wrong because we came up with a very different proposal both in the records and in the live ones, but music is a form of search and there is always a desire to continue investigating it.
—The name of the duo has the immediate reference to the initials of Cristina Kirchner, but it is known that there were other interests in choosing him. Why did they choose CKCK? In times of such a powerful rift, weren’t they afraid that those acronyms would serve to confuse or did they do it on purpose to see what reaction was generated?
“We clearly didn’t do it on purpose.” When it comes to naming albums, songs or projects, we don’t have the radio on or the newspaper open. What is being said “currently” is not something that mobilizes us much when it comes to making music. Nor is it that we ignore the social or historical processes that we live, but the conjuncture, the crack and others run along a much more lateral path. Those who listen to our music would never make that association and for those who do not know it, we invite them at this time.
—The duo’s proposal is generous and intense from the artistic point of view. Does being creative and making a somewhat atypical bet mean staying out of the record industry?
“Thanks for being generous!” We started making records when the record industry was in a slump with the emergence of the internet and MP3 in the mid-2000s. We never had our sights set on the industry simply because it was in retreat. Today it re-floated, the modes of consumption have changed, but it is more alive than ever. However, we do not make music for Spotify or YouTube, nor do we think of networks more than as dissemination tools. In this new reality, the concentration of the media is abysmal. The antennas are increasingly exclusive and very few concentrate almost all of the listeners and even the cake distributed by those listeners. It is incredible to see musicians of the stature of McCartney or Moby complain, what is left for the rest of the mortals? There are always “exceptions to the rule” that the industry launches and takes the opportunity to tell us “look, he was able to record a record from his room at home and win a Grammy, if you don’t, it’s because you don’t have talent or you’re lazy.” It would be something like “he who is poor is because he wants to” remixed in a trap / urban music version. The role of the media is crucial, especially the local ones. But we are not even there in the complaint, they are the rules of the game and we want to play. We were always interested in making music that dialogues with the outside world and in that sense we do think about how to promote ourselves; where to locate ourselves within the existing proposals; where and with whom to participate and where and with whom not, but not in record terms, what mobilizes us is being able to continue playing our music live as many times as possible and for as many people as we can reach. Zero hypocrisy in that sense.
—In “Para las lauchas” you ask “who are you going to call to justify so much pain”, in an alleged reference to a powerful person or institution. Can you reveal who that song is for?
—There are no references to power but rather to the culture of sacrifice. That idea, installed for centuries, that heroes are those who suffer and that what is valuable comes with pain, suffering and even early death. We say “bye” to all this, at least in the minutes that the song lasts.
—In “Recipes” there is a theme that flies over all the lyrics of the songs that is a certain criticism of the system. Is there an anti-system recipe for a better future or is the only chance for a better future to be no recipes?
—This is the beauty of the composition, each listening ends up closing the meaning. I never thought of a criticism of the system, precisely because I absolutely do not know the recipe, if it exists. The trigger for this song was something much more intimate, the contradictions that arose in me when my daughter was born. It happens to all of us who are parents that we feel, on the one hand, the need to show the “correct” path and, on the other, the feeling of being completely lost as to which direction to take.