Dan Deacon: electroindie extremo

Tras su show en Samsung Studio, uno de los responsables de que sigamos entendiendo a la música dance como algo espontáneo, divertido e incontrolable nos habla de su magia.

Esto es extremo. Segunda noche de Samsung Studio en San Telmo y un montón de chicos y chicas saltan y se agitan sobre el piso de madera frente a este gordito de Baltimore con cara de buenote que se vuelve loco frente a sus pedales y minisintes, no sobre el escenario sino en el piso de Madera mismo, con una electronica de kindergarden entre el noise acelerado y extremo o melodías ultra cute y buena onda. Nadie se preocupa de que le vuelen el peinado o le manchen la camisa, porque esa es la idea madre. De repente, Deacon corta todo, grita instrucciones, de que se agachen, que se paren, que lo imiten o hagan lo que les plazca. Audiencia informada. Todos saben quién es Deacon, creador de colectivos undeground como Wham City o festivales como Wharfscape, un disco anterior, “Spiderman of the Rings”, que era la bomba, y un ultimo, “Bromst”, que Pitchfork y Rolling Stone adoraron con varias estrellitas. Y vienen a buscar lo que Deacon ofrece: dance anti-control. 

¿Cómo empezó toda esta idea? Solías hacer grindcore, si no me equivoco.

¡Es que realmente no era grindcore! Bah, algo de eso había. Rated R era más como un chiste. En Youtube hay videos de nosotros tocando en parquecitos de baseball para chicos y hasta en estacionamientos de supermercados.

Bueno, eso es muy punk rock.

De ahí viene todo, de esos lugares. Cuando empecé a tocar música electronica en vivo, eran lugares autogestionados sin escenario y me acostumbré a eso, así que dejé de usar el escenario completamente, aunque también depende del lugar. Lo uso por ejemplo si hay mucha gente, o parece que se van a poner muy excitados y me puedo llegar a lastimar. Odio eso, ojalá la gente bailara en vez de empujar, aunque lo entiendo: el baile se puede poner espeso.

¡Es raro ver pogo en una pista de baile!

Y, más de una vez se cayeron sobre mi equipo. Lo digo nuevamente: ojalá la gente bailara más, aunque lo mío no es “música dance” precisamente. Suele ser más rápida y más pesada, tiene un pulso más acelerado, y eso la acerca mucho más al rock que a una vibración de música dance tradicional.

La crítica adoró “Bromst”, Pitchfork y Rolling Stone lo ubicaron entre lo mejor de 2009. ¿Tantas buenas reseñas ayudan o hieren al final?

Honestamente, nunca leo mi propia prensa, crea como un feedback en círculo que nunca entiendo. Me queda pensar que a la gente le gusta el disco y eso me hace feliz, y sin dudas disfruté hacer “Bromst.”

Verte en vivo me recordó que la música electronica todavía puede ser bailable, experimental y divertida al mismo tiempo. ¿Sentías que esa ecuación estaba faltando?

Por suerte, ¡no! Y pienso que hay lugar para muchísimo más, hay muchas cosas excitantes pasando en la música actualmente. Ahora, me emociona mucho ver cómo todas estas nuevas aplicaciones y dispositivos táctiles van a empezar a cambiar el hecho de tocar en vivo, de tocar música. Vamos hacia una década muy interesante como mínimo.

¿Y tus gadgets? Tu mesa parece un caos de cables, pedales y sintes, pero la controlás perfecto.

Esa es la idea. Funcionan todos omo un gran y único gadget, están todos conectados entre sí bajo un controlador. No tengo uno favorito, no te puedo decir que me gusta más un overdrive, un wah-wah, un vocoder, un sampler, o lo que sea. Juntar todo y las variantes que implican es mi aspecto preferido. Y no soy tan nerd al respecto. Si algo suena, entra.

También hiciste shows en museos como el Whitney, o el Getty Center en Los Angeles. De nuevo, otro espacio insólito.

También es muy loco, y es un desafío. Tomás un lugar usualmente tranquilo y estéril en cuanto a carácter y lo volvés una fiesta totalmente rabiosa, como si la casa se descontrolara. Va al punto de que lo meramente importante es que te diviertas como quieras, sin que te importe lo que otros piensen de cómo te estás divirtiendo. Siempre va a haber gente pretenciosa con mala onda y gente que tampoco va a entender por qué otros se están divirtiendo tanto.

¿Cuál es la clave, entonces?

¡El baile!

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