In light of the plight of the people of Colombia at the hands of the police amidst the current protests against rampant socio-economic hardships, the Berlin-based label Inherencia is launching a three-part compilation series to raise funds for various organizations supporting Colombians in their quest for freedom. The first release, entitled Against the violation of Human Rights, features major artists of the likes of SNTS, Tommy Four Seven, and Crystal Geometry.
On April 28th 2021, thousands of Colombians took to the streets amidst a general strike to protest the tax reform proposition made by President Iván Duque’s administration. This reform aimed at increasing income taxes for the lower and middle class, along with a raise of 19% on taxes for basic necessities like water and electricity. The goal of this measure was to cover some of the deficits caused by the devastating economic consequences of the pandemic, however it placed the financial burden on those whose livelihoods had been most significantly affected by lockdown measures and forced business closures.
In a climate of mounting violence within the country due to the government’s failure to uphold crucial peace acts between local armed groups, and a year of strict sanitary restrictions, the Colombian people have reached a breaking point. The recent surge in COVID-19 cases brought about the prospect of yet another lockdown, thus leading protesters to claim their right to work in a context where staying home would inevitably lead to ruin and starvation. While the new tax reforms were the catalysts that sparked a collective action, the protests grew and evolved into a movement galvanizing the frustrations and hardships Colombians have suffered for years.
Beyond the incredible number of people who filled the streets out of rage and despair, what truly shocked the world was the ruthlessness of the police response to the uprising. Several protesters were killed and hundreds injured within the first day of the protests, and the violence has escalated ever since with the government sending in military troops to disperse protesters. As of May 28th, the Human Rights Watch has estimated a total of about 63 deaths, casualties including children. The world became flooded with harrowing accounts of police brutality, from assassinations to disappearances and cases of sexual violence.
As the world witnessed the strife of Colombians against the state apparatus, a wave of support ensued. Protests flourished across the globe and international organizations expressed their concern at this shocking violation of freedom of speech and human dignity. The support has extended to the electronic music community in various ways, one of them being fundraising efforts through music releases. The Berlin-based Inherencia label was one of the first collectives to take a stand for Colombia when they announced the first opus of their “SOS Colombia” compilations, “Against the violation of Human Rights,” highlighting the importance of global support systems in the struggle against nationwide oppression.
One of the main purposes of “SOS Colombia” is to educate the public about ongoing issues in Colombia, by providing some historical insight into the country’s socio-economic situation. The project will not only include music, but also short documentaries which seek to expose the ways in which harmful economic policies, drug trafficking and a corrupt mass media have stifled the opportunities and freedoms of the Colombian people. “SOS Colombia” is a prime example of the potential of art to create momentum around a specific issue, and also demonstrates the power of community when it comes to instigating social change.
Beyond its endeavour to raise awareness on the plight of Colombians, Inherencia also communicates its intention to engage in some concrete action by directing all revenues collected from the sales of the albums to non-profit organizations in Columbia. For the sake of transparency, the label has detailed how the funds will be divided between two types of organizations: verified human rights organizations and citizen self-organized initiatives. For the former, thirty percent of proceeds will go to the Comité Corporación de Derechos Humanos Jesús Maria Valle Jaramilla of Medellin, twenty percent to Resistencia Antiracista in Cali, and another twenty percent will go to Red de Derechos Humanos del Suroccidente FIC in Cali.
In terms of citizen self-organized initiatives, twenty percent of revenues will go to the Cali Teacher of Dempresa initiative, managed by Dempresa high school teacher Angie Natalia Ctoazo to help her students who are affected by the violence of the protests, and ten percent will go directly to frontline people throughout Colombia with money for food, medicine, transportation, and security equipment. Inhenrencia’s attention to balance and equity highlights the label’s understanding of the way grassroots and established organizations must work in synergy to successfully create a better future for Colombia.
Although humanitarian considerations are at the core of the release, music is the foundation of this fundraising project. The artistic input of internationally renowned producers draws in a public who may not have otherwise donated to the cause, or who may not have even considered the issue of lower and middle class agency in Colombia. The focus of this first opus on the concept of human rights makes the problem relatable to all by reminding us of what we share, our own privileges, and how we can help others live a safer life.
Superstar SNTS opens the show with an intriguing beatless track, “Lágrimas De Sangre,” which throws us into an introspective meditation on pain and resilience. “The Art of Growth,” by Anna Ground and vocalist Frederick, continues on this contemplative path with the beautiful chords of its introduction. “My potency belongs to me,” the singer whispers as the song slips into spoken poetry about claiming one’s agency amidst an almost ritualistic compositional progression. The end brings about a sense of positive destruction that announces a new world on the verge of being born, while embracing the suffering that has led to this renewal.
The album is filled with undeniable dancefloor weapons, each retaining their own particularity and using suggestive titles as a nod to the political motivations behind the release. “Resistencia” by Ricardo Garduno guides the masses to collective action through engaging vigor, Tommy Four Seven’s “SOS” emulates the sounds of an alarm to create a sense of frenzied urgency, and “Fuego” by Common Poetry harks back to the spirit of the rebellion with its acid-drench industrial soundscape. Astronomical Telegram hypnotizes with a groovy psychedelia in “Odi Et Amo,” while WarinD electrifies with power and sensuality in “Yo Estoy Contigo.”
Other artists opt for a more upfront approach to communicating violence and chaos. One of them is D.Carbone, who creates a feeling of sensory overload full of acid riffs, screeching screams, and gritty kicks in “Trap The Bass.” In “Así Como Así,” Ana Gartner similarly conveys a sense of degeneration and decay through innovative sound design. However, the one who takes this concept the furthest is Bryan Valenzuela, who starts his track “Blood” with a nearly deafening tone before unleashing an incredibly fast kick that reflects the hostile energy emanating from the streets. The kick could be compared to the gunshots fired by the military or the punches thrown by the police, but it could also be seen as a means of stimulating protesters and communicating that rage they will need to keep on fighting.
Max Durante, in “Contra El Poder,” channels the energy of punk by mixing distorted vocal samples of protest speeches with a hard, stripped down beat. The iconic phrase “el pueblo, unido, jamás será vencido” is heard throughout the track, which reminds us of the power the people wield when they unite for a given cause. In a different way, Crystal Geometry also references the subversive spirit of punk in “Asesinos,” where the word “assassins” is shouted repeatedly, like a rallying cry directed at the military officers and policemen exerting abusive violence on peaceful protesters. Excerpts from the mass media and sounds of gunshots are all integrated into the track, to the extent that “Asesinos” becomes inevitably associated with its historical framework.
Full of gems, this album has even more tracks that we are excited to hear on the dancefloor. No Intellectual Property’s “Paraco Government,” for one, is an industrial techno banger that creates moments of pure bliss with its high-energy drive. In “Tomorrow,” Wallis takes the hard route but gives it a little bit of a twist by incorporating sororities more often heard in EBM. Lokier, with “No Es El Final,” blends a galvanizing kick with ominous leads to push us through our fears. In “Loops of Freedom,” Schwahn sets up a compelling composition by introducing us to a stark atmosphere that is gradually illuminated by a lush chord that seems to symbolize the silver lining of liberation after the hardships of struggle.
The three closing tracks for the album seem to embrace this optimistic narrative, as they announce a utopian world in which Colombians would not have to fight for their right to freedom, agency and peace. Sons of Hidden’s “Orquídea” features the broken down beat of electro, combined with a layer of ambient that injects it with reverie, while Fixon’s “Dignidad Rebeldes” revels in the power of visceral techno but progressively enters the realm of ambient, thus drawing out the way in which the catharsis of rage can lead to liberation. As a final conclusion to this album, Amadeus Joseph’s beautiful and contemplative “De Luto” lets us imagine a whole new world of possibilities for the Colombian people and acts as a welcome means of escape.
Part II of the “SOS Colombia” series,”In Absence and Violence of the State. People unite and self organize” was released on May 27th, with headliners such as VSK, Sept, Axkan, and Any Mello. While the first release marked the recognition of a struggle and the materialization of a utopia to strive for, the second opus seems to focus on the concrete actions that must be taken in order to make these dreams of freedom a reality. The third release, “Dignity, Justice and Peace,” will likely assert core concepts that are crucial to the constructions of a healthy and equal society, and will be released later this summer.
-Théophile Gatté
Link – Bandcamp
