Caminauta and Extinct

The music of Caminauta is quiet and thoughtful. Yet, unlike a majority of ambient music, is also comforting and endearing. Her use of the Casiotone keyboard brings a lightness atop the bed of darker textures while minimal beats carry the song forward in directions you may not first expect.

Extinct EP (now available on Cassette at Delta Shock) is her newest release and is a good sampling of what her sound may be going forward. Moving, and in touch with the human soul.

Merigold Independent: The title of the album, Extinct, is quite thought provoking, is there a story behind the album?

Cami Gadea: The idea was catch the instant of things done in a chaotic form. The concept behind Extinct is a couple of sensations in a introspective way singular but deep for me.

MI: What does your creative process generally look like? Do you begin with improvisation with the song evolving as you record or do you have a strong idea of what a song may be before you begin writing?

CG: All born in improvisation but later I mold the idea following the concept and develop the sound from the primary idea, that’s become more natural.

MI: When did you start getting into composing? What was the first instrument that spoke to you?

CG: I started composing when I was fifteen, the first instrument that spoke me was the guitar. I remember my first melody opened my travel to the art and expression.

MI: There are some lovely tones and synth textures on the album, what is some of the instrumentation you prefer to use?

CG: I like to use mainly pianos, I love to include pad synthesizer with textures and strings and voices to contextualized in a oneiric and deep place. Other things, I like to use rhythms, patterns, and arpeggiators to contrast in a fresh way.

MI: Are there different technologies you like to incorporate in your writing?

CG: I work with Ableton and Cubase playing with midi controllers and also with guitars and my old Casiotone.

MI: What is your studio like? How do you keep it a creative environment?

CG: Actually I’m recording in the home studio of my producer, there I have total freedom of development of my music. Raul Tizze helps me in the arrangement and technical aspect to make my own sound.

MI: What are some of your inspirations? Are there occurrences in your life that seem to have an effect on your music?

CG: Yes absolutely all, personal experiences, situations, people, places. I have a leitmotiv, which is a big sensation, in German it is called “Sehnsucht”. It means the constant feeling of hope for something intangible .

MI: What is the music scene like where you live in Uruguay? Is there a fruitful ambient scene?

CG: In Uruguay the ambient music doesn’t exist and in the rural town I live is extremely strange. I’m lucky to be in connection with a lot of people around the world by internet in the art and ambient music scene. I’m projecting in a near present travel to live in another country because I’m looking for a real connection with people in the same city.

MI: The song, Sailboat, is a beautiful song and really speaks to me. What is the story behind it? What is it’s meaning to you?

CG: Sailboat, is a soundtrack that I composed for a collective video of artists in Ukraine. It is a beautiful video and definitely the sounds of the composition transform it into a sound piece, very magical.


MI: What are some other artists (music or otherwise) that you enjoy?

CG: Several genres in the music as Steven Wilson, Nils Frahm, Brian Eno, Erik Satie, Bill Evans. And bands like Sigur Ros, Storm Corrosion and No-Man.

MI: Is there anything else about this album you wish to share?

CG: Recently Extinct EP has become available on cassette at Delta Shock Label in Ukraine! And I’m starting a new project called “Time files”. Which consists in using everyday sounds to create sound tracks which will be part of my album. All the people who want to be part of this proposal can send me home recordings of sounds which are pleasing to them in their daily life and I will make music with it.

Cassettes available at Delta Shock

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