Juan Alberto Tamayo

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Season Two Playlist

Transcript

Juan: I think they just don’t care because they say like, “people will come even if the sound is bad, because you don’t have that many options.” It’s like either you do it there or you do it in another place that is the same shitty sound, or you don’t do a show.

I think that’s my opinion. They say like, “we get people, even if the sound is bad, even if the conditions are not that good.” So it’s not a lot of incentive to change things. I think that’s the biggest struggle I think for the scene in the city is like, We do not have proper places, but we still do it. Between our friends, we are still thinking like, “Hey, let’s get together and buy some monitors and buy a small PA and just bring everything to the show because we want to do better shows.” Not only that people go let’s see this band, but let’s hear it well.

So that’s where we’re doing right now. Still like just between friends, it’s still going like that.

Ryan: My guest today is Mexico-city based musician Juan Tamayo of the instrumental, sci-fi, heavy psych band, Vinnum Sabbathi and sludge metal band Fumata. Juan also has a record label, LSDR Records which stands for Low, Slow, and Distorted Riffs, in addition to running his amp & pedal business, Tamayo Amp.

I’m very excited to share this conversation with you because it’s all about that DIY spirit. Juan and the scene he and his fellow musicians have cultivated in Mexico City is the very embodiment of that DIY spirit. And with that, let’s make a mixtape!

Ryan: Thank you so much for joining me on Season Two of Let’s Make a Mixtape. We are talking about homesick: songs that remind us of home. What song did you pick and Why does it remind you of home? What does home mean to you?

Juan: Hey, well, I choose the song “Muerte y Transfiguració​n” from Terror Có​smico from here, from Mexico city.

I have been thinking a lot about this because it’s one of those subjects that really, I haven’t put attention to, that kind of thing. And it was also really hard to pick a specific song because I really could have picked something from other bands from the scene because I think, for me, home is not a place.

I mean, obviously home is here, my house, my city, my town. But for me, I think home is- it’s my musical journey in a way. When I remember what I associate as home for me is all these experiences I have had in music. It started like in 2011, 2012, when I started Vinum Sabbathi and it’s the same year I discovered Terror Có​smico.

And not only them, but this growing scene that was happening back then which turned out to be a collective called Los Grises and yeah, when I hear that song, Muerte y Transfiguración, it reminds me of all the experiences I had with Terror Có​smico, my band, but also all the other bands and all the people that are now really good friends, not only musicians, but photographers and people who do shows, promoters.

So yeah, I think that’s what I associate when I think of home is those, those memories.

Ryan: So was Terra Có​smico kind of the beginning of that collective or what are the origins of this?

Juan: I started doing the Vinnum Sabbathi, just me doing the drone. And I start playing with another band called Blood Witch. That’s where I met Samuel, our bassist, the bassist of Vinnum Sabbathi, and around that period, we have played like two shows, maybe, together as a duo. And then, my brother came in contact with Miko, which, yeah, it’s how it started is like that. Miko invited us to play a show and then at that show also Terror Có​​smico played.

That’s where we met Terror Có​smico and Weedsnake, Apocalipsis. I think those times, 2012, yeah, 2011, 2012, that all these bands like were starting around the same years. So, it’s at these shows when we started to know each other and that became the collective. I think the main bands were Terror Có​smico, Apocalipsis, Weedsnake, Nazareno El Violento.

By that time, when we were starting, we didn’t know about technical stuff, how to do shows, how to do nothing. So those guys invited us to join the collective and we learned a lot of things. We learned how to do a tour, how to do a show, how to upload your music, everything. Everything in a way of this philosophy of do it yourself, but as a collective.

Ryan: So you are all learning together and teaching each other and fostering the scene and really building something together. That’s so cool.

Juan: Yeah. So yeah, for home, I think of that. I think of those early experiences because we were playing like a year, the first year when we have our drummer, Gerardo is 2013 and early on, he went to the UK to do his PhD. And by that time, 2013, we have released our first EP and we’re still not knowing nothing. And thanks to that collective, we were invited to our first festival in Monterrey. So by that time, I think none of us have stayed in a hotel, obviously not playing in a festival, not knowing what a fee is or anything. So, yeah, it was a crazy.

Ryan: When we first met in person, you had just finished a massive European tour. What has that journey been like going from those early days to now you’re traveling the world with this thing?

Juan: Yeah, it’s crazy that I think that’s the most important thing that I value.

And that’s why I see it as home, not a specific place, but that journey. Those experiences for me are home when I think about it. And yes, you know, starting as not knowing anything, our first learning experience where with that collective, that was our first festival, NRMAL it’s called. We opened the festival and we didn’t care. It was only our friends in attendance because it’s really, really early, early on. But it was great. That’s the first time really we had played that kind of thing. And from then it was only a growing and learning experience, but together. And it was so awesome to be able to now do that European tour where we met with, together with Terror Có​smico, since it’s the band we started with.

So it was, apart from the experience of playing in Europe and playing these awesome venues and festivals, the joy was to be there with our friends.

Ryan: Oh so you did a co-tour with them? Was that your first time playing in Europe?

Juan: No, it was the second. The first time was back in 2017 when we released the first album. This tour was originally meant for 2020, but we already know something happened.

Ryan: So home has effectively traveled with you on this musical journey. That’s awesome to have. Tell me a little bit about the scene in Mexico City. I visited once, I think in 2017, and I went to a couple of shows and it seemed like such a very collaborative, very- it was a very welcoming scene.

It was cool to be able to witness that. And I feel like there’s something special that’s been going on in Mexico City. And I wonder if you could talk about your experiences that you’ve seen.

Juan: Yeah, I think that’s the main characteristic is still, cooperation, still very DIY.

We haven’t had any big promoters, like in Europe, like you find already some established promoters, but here is still if you want to do a tour, from each city, you go to the local bands, which are friends. So you already know like, if we’re doing Morelia, Monterrey, Guadalajara, you don’t have a established promoter, you still go “Hey my band can do a show for your band.” And when that band comes to your city, you can do the show for them. It has been like that since I started.

Ryan: That’s fascinating. In the States it’s very much a mix of that, you can DIY book your shows, but then there’s the promoter infrastructure. And so it seems like the infrastructure is very peer-based in that sense?

Juan: Yeah. I think here is it’s weird if a promoter reaches out to you, you already have some suspicion, like, yeah, “I’m a promoter. I’m doing these shows.” It’s a little bit odd because yeah, either is very local with bands and friends or it’s like the other ways, like the more professional, bigger bands, that kind of thing.

I think we don’t have promoters for small shows. It’s more like just between bands and friends. And when we started the thing is from since, well, 2011, 2012, there was not even a proper Stoner Doom scene. When we started, there were some bands like El Diablo, Powertrip, Drugster Monster.

There was these bands, but they were like spread out like each band playing their own shows. So there was not a proper scene like that. And I think with the collective Los Grises, when these bands starting to get together, that’s when I got a sense of really, a collective something. Something big between bands because at those times, like 2014, 2015 they did an annual festival for the collective.

And in the second edition, when we played it, it was in a house, in a big house, but just between the bands doing it, and it was like 600 people attending. So, yeah, at some point really, really, yeah, those who went to those couple of festivals, 2014, 2015, yeah, they all have the same experience.

Those two festivals were like insanely crazy, like 24 bands or something like that, two stages and everything was DIY.

Ryan: Wow. Are they, they’ve stopped doing them. They haven’t done any more festivals?

Juan: Yeah. The collective, I think from 2016 going to 2017, kind of dissolved. It was very short span, but we ended up going out of the collective with a lot of knowledge and some of the bands remain, not all of them, some of them dissolved.

From the end of the collective, that’s when we wanted to keep that philosophy going in our way, that’s when we created our label [LSDR Records]. And we started doing shows by our own. Not super big, like with the collective, but we wanted to keep going with that and just between the bands keep kept going after that the period of the collective happened. The more established Stoner Doom scene stayed.

Since then, I think it has been constant. We haven’t had anything crazy like those years, it’s still small, but I think it’s now a more established scene. The good thing is, I think from that period, most of the bands learned a way to do things, to search for labels, because also we didn’t have any labels. Fortunately by now, bands from here are signed, on labels in America and Europe, and I think that’s, that’s great. It is, but yeah, in comparison, it’s still small our scene, but I think it’s still going well in a term of small shows.

Obviously looking to put bands here in the more global scene. That’s also the main aim of our label, trying to pick bands that are having their first release, first demo, first album, and try to push them to have those signings of labels.

It’s already happened with a band called Satanico Pandemonium, which is very doom with horror themes. They already have a couple of albums with European and American labels. Their first albums came to our label, small label. And the objective is that just having something and trying to push it on the global scene.

That’s the idea. And it’s still happening. Nowadays, there are other small labels here which are doing that, and that’s great.

Ryan: So you’re carrying on that tradition of the collective to really help out your fellow bands. Do you feel like there’s been a lot more international scene attention on Mexico City or in the scene in general coming out of Mexico? Even though you said it’s a small scene, but do you feel like it’s getting more global attention especially with the work that you’re doing?

Juan: In small steps, but I think it’s more bands are getting deals outside of the country.

A couple of bands have been already playing in Europe, in the U.S., Cardiel, one of my favorite bands, a duo, they have been in a very long U.S. tour, so that’s great. And we still have a lot of barriers. It’s not that easy to get into the U.S. We have been trying for years, but yeah, it’s really hard.

It’s easier for us. I mean, specifically for us, for Vinnum Sabbathi, it’s way easier to go to Europe than go to the U.S.

Ryan: Interesting. Yeah. Yeah, we suck in that regard. It’s really unfortunate because, as geographical neighbors, there’s so much rich music coming out of Mexico that it’s a shame that there aren’t a lot more bands from Mexico to able to tour the States because of the political limitations that we’ve put on things.

Juan: Yeah, but someday it will happen. That reminds me of when Brant Bjork came to play here for the first time and my brother was interviewing him and he asked “What, what took so long in a way for you to come to Mexico?” And I remember he said like, “It was not time, until now is the right time with the right conditions.”

He tried, sometime in the past to come here, but for some reason or another- also, I think before there was not the public in a way, because I remember the turning point for the scene also was when Kadavar came to play here for the first time, I don’t remember, maybe it was 2014, 15, something like that. And it was a sold out show in a small, small venue, but it was sold out. And I think from there, the promoters, like the bigger promoters, said “Oh, there is a public for this kind of music.” And from then bands from other places started to come here. And that was also in a way good because that’s also when the big promoters kind of said “Oh, who’s going to open the show?”

And then when the local bands had a chance to get on bigger shows, Satanico [Pandemonium], I think opened from for Monolord when they came, we opened for Truckfighters and for 1000Mods recently. It’s also good, in a way, a good thing. It adds to the bands growing in a way internationally, even if it’s local, but you get to interact with international bands and that also helps to spread the word outside of the country.

Ryan: Yeah, that helps build that scene and extend those home-like experiences beyond just Mexico, too. That’s really cool. I’ve noticed a lot more bands seem to be trying to add Mexico City to their tours.

Juan: Yeah. Well, for the mainstream metal music, I guess all Latin America, including Mexico, Metallica can have eight shows in a row here sold out because metal is really popular. Stoner Doom is still growing, but we had this festival Doom City in 2020 February. It was the first proper doom festival. We had Amenra, Mantar, The Obsessed– It was also a really great response, like 800 people.

For something like that, it was really good. It’s still growing. I think the thing that I’m still like, “oh man, it’s a bummer” is that we don’t have proper venues. We don’t have proper spaces.

There is a really great spot called Tres Dieciséis Centro, but it’s a very unique place because it’s an apartment in an old building. They converted an apartment for a music venue. So if you want to go to a show, you have to knock on the door and say, “yeah, I’m going to, to the show.”

And you have to go up stairs and knocking on the apartment door and, “yeah, he’s here.” And it’s a very small place. The sound is amazing and the people there are amazing, but it’s just one or two or three for the city. It’s most of the places are bars with a corner and they don’t care about the sound.

So now we’re seeing we have to bring our own equipment. And now we have to bring our own mics and almost our own PA just to do a proper show. Because if you go with the gear they have here, it’s like, ah-

Ryan: Why, why do you think that is that there there’s not really a lot of proper venues.

Juan: I can only speculate because I don’t know what’s the industry of those places, but I think they just don’t care because they say like, “people will come even if the sound is bad, because you don’t have that many options.” It’s like either you do it there or you do it in another place that is the same shitty sound, or you don’t do a show.

I think that’s my opinion. They say like, “we get people, even if the sound is bad, even if the conditions are not that good.” So it’s not a lot of incentive to change things. I think that’s the biggest struggle I think for the scene in the city is like. We do not have proper places, but we still do it. Between our friends, we are still thinking like, “Hey, let’s get together and buy some monitors and buy a small PA and just bring everything to the show because we want to do better shows.” Not only that people go let’s see this band, but let’s hear it well.

So that’s where we’re doing right now. Still like just between friends, it’s still going like that.

Ryan: That definitely speaks to those DIY and collective origins and approach. So you’ll figure it out. I think that makes sense. Working together. That’s great. It’s a shame. No one’s been like “there’s no good venue in the, in the city, let’s build one.”

Juan: Yeah, that will be the next step. Just let’s go open our own place, but that is insane because, you have also this part with the cartel thing that if you open a place, immediately someone will go like, “yeah, you have to pay us,” just to be open.

I think that’s also a factor for venues because, I really don’t know how they operate, but I imagine also they also have to pay to the cartel just to be open. So maybe they’re just like running with the very basics, like not also like, “yeah, let’s do a better PA because” they’re just like, “let’s stay open.”

Ryan: Interesting. Do you feel like having to put together shows yourselves that have that good quality, do you feel like that’s kind of kept the scene in that more DIY-vibe.

Do you feel like that’s kind of kept, kept that alive? Do you feel by having to rely on the community to put together a show, do you feel like that’s hindered the scene, or do you feel like that’s enriched the scene with that community feel?

Juan: I think it has a little bit of both. In a way, the struggle or not having the necessary tools and necessary space, everything, it brings you together as a community. “Hey, I can put the sound, I can bring this mic, I can do the sound, I can record.” We can help because we don’t have the proper tools. So it brings the community, but I think in a way also limits the growth. I feel like we should have better shows, better venues, bigger shows, offer the assistance, a better show production that things like that.

Once you go outside and you go to Europe to play other shows and say, like, “I want to bring some of these things that I discovered here back to my scene.” But those are the limitations. That’s I think, because you’re struggling still with the sound, with the lights, with the electricity, that is putting you down when you want to go to the next step.

So, yeah. It’s a little bit of both.

Ryan: That’s really interesting. That’s a shame. So the cartel has a pretty big impact on how businesses operate in the area?

Juan: Yeah, especially in the city, in the places where all the bars and all those activities happening. Yeah, for sure. You don’t need the owner telling you, but you already know, if you have a place in the city of the center, it’s very probable that the cartel is charging you for being there.

It will be a great dream, to open your place with your friends, but yeah, it’s one of those things like, it’s not worth it. Not only on the music or the the entertainment industry. Like if you want to open a shop for what I do, for doing cabs, pedals, if I want to run a store, it will be almost the same. That’s why most of us are in the shadows.

Ryan: Interesting. So you’re building your businesses. You’re not creating stores, you’re running them from your, from your homes, hosting shows in your homes. Tell me a little bit about the cab and pedal business. How did you get started doing that?

Juan: It was around the same time I started with all this, everything is connected.

But it was like also 2011 probably when I started university and started discovering the heavy bands and I want to play this. And the first thing you see is Sleep with the wall of green amps, bodies with a wall of Model T’s and Orange and everything. And it’s like, “I want to play these and all my heroes are playing with all of these.”

So I started looking in the stores here and obviously we have very limited options in those terms. If you go to the music stores here, you get Marshall. Back then, not even Orange was here. Just Marshall, Line6, those things. Very limited. Fender. And it was very expensive.

Also, I want to have a 4×12 for me, but I don’t have the money. And yeah, so again, the DIY, so I build one for myself, a cabinet and from there friends really, the same friends actually, Javier, the guitar player of Terror Có​smico was the first client in a way.

It was like, “Hey, I made a cab” and he said, “ah, cool, make me one.” And from there it started like just friends, mouth to mouth, “I saw these guys playing and they have one, I want one too.” And it was at the same time I was doing university. So for all university, it was a side job from when I finished it until now. Last year, or the year before, it became my full-time job. It’s, it’s challenging, but-

Ryan: That is so cool that you’ve basically made it into- your side job was able to be enough to sustain you as a full-time job and you’re able to pursue your passion in that regard.-

Juan: Yeah. Going on tours with the bands and just being really involved in music really didn’t give me a lot of space to have a proper job. So it was just school, then music. And between then I was doing cabinets and just, yeah, to not starve.

And actually it took- I finished university in 2015, but I graduated last year. It took a long time to write my thesis because between then it was the first European tour with Vinnum [Sabbathi]. Also the European tour with Fumata, another band, I play bass.

And now, finally, after that I haven’t even realized this is my full time job.

Ryan: What, what did you, what did you go to school for?

Juan: Mechanical engineering.

Ryan: When you were going through your studies what taught you what you needed in order to start building cabs or did you already have-

Juan: Half-way, because mechanical is not really, doesn’t have electrical or sound. So really self-learning all of those things. The good thing for me is experimentation and learning. I’m always trying to improve, experiment, learn.

That’s the good thing. And in a way, just the engineering in general, like gives you the mindset and the tools, but yeah, all my peers in college, it was like, “yeah, I’m gonna go to a company and have my car and my house.” And, and I was like, “man, I don’t want to go to an office job.”

Ryan: So it gives you the freedom ’cause you work your own hours, so you can put a pause on production to go on tour for a little bit.

Juan: A two-sided sword. Because yeah, there have been times where I was building seven or eight cabs at the same time. And everything is from scratch. I get the wood, the sheets and turn it into a cab. And, since last year, early this, yeah, January this year, I started with the pedals, the Fuzzonauta. It’s that thing that during the pandemic, I had a lot of orders for cabinets, but going out of the pandemic that completely stopped.

So now I’m doing pedals, so it’s like balancing that thing. It’s good because you can go on tour and have your own time, but also there are times where you already- in one, six month period, I didn’t have any orders. Trying to survive.

Ryan: Oh yeah. That’s hard. I imagine you don’t get a lot of international orders for cabs given the shipping constraints but have pedals opened you up to a more international market?

Juan: Yes. Fortunately, actually, for the tours, this tour I did two batches of pedals and I brought that with me. So during the tour, I was giving pedals. Yeah, it was cool. And, and that opened the market, because after that, when I returned from the tour, I got messages from people in Germany, in the UK, like, “yeah, I saw that pedal and I want one.” So I already sent some orders to Europe and the U.S. so that’s a good thing because cabinets, it’s impossible.

There are a lot of restrictions in that way, just for weight and materials. I already tried and I have asked, but you have to be fully registered as a business. Everything. Just to be able to ship outside. And really at this point for me, it’s not doable. register us as a full-time thing. It’s just me building stuff.

[Transition Music]

Ryan: You mentioned Fumata. That’s with Javier who is also in Terror Cosmic?

Juan: Yes is the the same core. Javier is the guitar player of Terror Có​smico. The drummer, Miko is the original drummer of Weedsnake and also played with Vinnu Zabbathi for a while while Geraldo was doing his PhD. The vocalist is Maximo, who’s the bass player of one of my favorite bands, El Orcado, which sadly they don’t play anymore, but I recommend to everyone, listen to El Orcado. It’s probably my favorite doom album made in Mexico. So for me, it’s a bit of a dream team.

So, yeah, we went to Europe with that band in 2019. Yes. And it was a very different experience from my other two tours because we now have this running joke that we are jinxed or, or hexed or like bad luck with that band.

We ended up renting five different vans. Javi, the guitar player was arrested on tour. We had to cancel the show.

Ryan: Oh, no.

Juan: Yeah, it was crazy.

Ryan: Oh no. What happened to the vans? That’s a lot of vans.

Juan: A lot of bad luck.

When we went to record, the studio is in another state and it already happened twice that our car computer, like the brain of the car, was stolen twice from us. During tour also here in Mexico, once our van was taken- like the traffic police took it to the junk yard because it was parked in a wrong spot.

And also those guys crashed once on the highway during the tour. It’s just crazy man.

Ryan: Have you had better luck with a Vinnum Sabbathi?

Juan: Yeah, way better.

Ryan: Any other fond memories of home, of that collective that you want to talk about or anything else that you want to about before we wrap up?

Juan: It’s super crazy that the first time we went to Europe we did some shows together because at the same year, Terror Cosmic and Weedsnake, they were doing their own European tour together. And we were fortunate to share some dates together, some shows together. And we played Desertfest this year, Terror Có​smico, Vinnum Sabbathi, which is was, is one of those things, and I remember I say to the mic when we play, like “since we started, we were fantasizing about doing these things, like, maybe one day we’ll play Desertfest.” And yeah, being there, just remembering all the roads, all the experiences to that point. It was, it was awesome.

I remember Javi, because he was at a show in the public and he’s like, “Oh man, when you say those words, you know, fell deep in, because we have shared all this story together.” So. Those kinds of things. And still is, you know, for me, it’s still like this thing of like, error in the matrix.

I don’t know why these things are happening. We shouldn’t be here like that, that idea. So yeah, it’s still crazy.

Ryan: I mean, you very much deserve it. I’m so happy for you, that you got to get to experience that.

Juan: And that just came to be. And the thing that I take the most is the interactions with people, like this is a perfect example.

If it was not for music, I think we will hardly ever met. So those circumstances for me are the best. Getting to know people in this context.

Ryan: I love it. That’s why I do the thing. I love seeing what music means to people and how it affects their lives and how it intertwines with the lives of others. And we all have different scenes that we come from that are so different, but in the same way, they’re so similar. And I love your idea of home where you’re talking about that collective, that you were developing as a band, as a musician, as a cab builder.

That’s a great definition of home, especially when we’re talking about music. I mean, it really, it is. I don’t know if I told you this when we first talked at Desertfest, I think I might’ve mentioned it, but I went to go see a show, it was a Cascabel and the Broccolis.

I interviewed both of them for Global Garage and it felt like I was a part of my hometown scene. They were so welcoming and it was such a fun- I didn’t feel like a stranger. It was amazing. The way that music can do that. It was so, it was cool. It felt like a local show. It was amazing. And I love that music can do that. I love that it can transcend borders and boundaries and all that.

Juan: Yes. That’s also my whole thing is just like those, those moments. I live for those moments.

Ryan: Right. Any other moments of those that- so Desertfest, I feel like was probably one of those moments- Any other moments that stand out to you?

Juan: Yeah, yeah, for sure. Desertfest. Our set, but also, just as a genuine fan that was seeing some bands there. I remember Gnod. I saw those guys in The Surface Berlin and, and, oh man, that is like out-of-body experience. Also for us, I think this time, Sonic Whip, we played this festival in the Netherlands and it was insane. This tour, we did it all on public transport because we couldn’t afford a van.

So we played The Surface, we stayed for Desertfest, for the show. And we left late because we were waiting for the merch. We have backed up and the girl who was doing our merch, said wait a little bit because people are still buying merch and I still have to count it.

So we left late and we arrived directly to the airport. From the airport we went straight to Amsterdam, took a train to Nijmegen, we arrived directly to our sound check. We just like wait an hour, ate something and we played. So we were like- no sleep and we were like we didn’t see the public.

And when we finished our set, they turn on the lights and it was like, probably the biggest show we have ever done. It was like, just see like this sea of people for us. It was like, just- And from there we spent the next three hours selling merch. Like it was insane. And just people coming by and say like, “yeah, I wanted to see you guys.”

Having that, it was it was bananas. So yeah, probably those because they were like Desertfest and then the next day, Sonic Whip. So that batch of shows was crazy.

Ryan: That’s fantastic. That that’s so cool. I wish you the best with everything that you’re doing. I hope listeners will check out your pedals and all of your various music projects. I really dig that collaborative record that y’all did with REZN. That’s super, super rad. Anything else in the pipeline as far as music output?

Juan: Yeah, we’re working on a new split with Vinnum Sabbathi and another band from Europe. With Fumata, we’re playing some shows and I think from now that’s, yeah, I think that’s it. We still have a lot of ideas, but you know, nowadays, our drummer lives in another state. So for us, it’s a little bit harder to get together, but that’s what’s happening right now.

And yeah, just like invite everyone to check- I mean the music and the bands, but also I will like to invite you to check the general music scene in Mexico, the underground bands. You can check our label’s Bandcamp is LSDR. I usually record bootlegs live shows from local bands and everything is free there. So I invite you to check the Bandcamp. We have a lot of stuff there if you want to start digging in the Mexican scene.

Ryan: And listeners, I’m going to put a heavy second on that because the music coming out of Mexico right now is incredible. And, dive in, please. It’s fantastic. It’s great. I can’t say more enough about it. Juan, so much for joining me on this episode of Let’s Make a Mixtape and talking about a song that reminds you of home.

Juan: Yeah and, well, hope you dig the sound. The song is a long one. It’s the last from the opening album, the first album of Terror Có​smico. And when they play it live, I go bananas because it’s one of my favorite songs from them. So I hope you enjoy it.

Ryan: That song goes really hard. And Terror Có​smico was completely new to me before I talked to you about it. So thank you for introducing me. I’m very excited to continue through the discography.

Juan: Nice. Thank you. Thank you for having me.

​Ryan: Massive thanks to Juan for joining me on this episode. If you want to hear “Muerte y Transfiguració​n,” be sure to visit the show notes at letsmixtape.com where I’ve linked to the season two playlist as well as a lot of the bands we talked about over the course of this conversation. If you want to hear some of Juan’s music, well, here you go. This is “Hex VIII – The Malthusian Spectre” by Vinnum Sabbathi off of their split album with Cegvera titled The Good Earth Is Dying.

Ryan: Thanks for tuning in! Be sure to subscribe and rate the show wherever you get your podcasts. Next week is the season finale and it’s one hell of an adventure. We’re going to enter the void with the Voidward archivist himself, Greg Sheriff. Let’s Make A Mixtape is edited by yours truly; intro and transition music composed and recorded by Scotty Sandwich.