Over the past five years, Solterra , a pseudonym for Granada Hills-raised artist Tania Ordóñez , has quietly established itself as a producer of cutting-edge dance music. To date, he has released two exclusives (EPs): his debut Sin Compromiso and the new Todo O Nada Volumen 1 . But it's not just his ability to create hypnotic and emotional dual soundscapes. From Solterra's live performances to the visual expression in her music videos, she herself is a pillar of her craft. We had the opportunity to fill Ordoñez with some stories, beliefs and inspirations from the beginning of the experience.
Editorial and interview by Stephen Ward
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What are some of the musical inspirations or influences on Todo O Nada Volumen 1 ? Do you still like that punk touch or are you completely immersed in the world of electronic, techno and dance music?
Musically, I feel like the inspiration for all my EPs is just dance music. I love house and techno, most of the time I listen to music and DJ, so this is my entertainment. But I taught myself, you know? So I wouldn't make it look like those paths. Sonically it is heavily influenced by PowerViolence, Doom, Metal and Punk. I love that it's so tough and the screaming and anger that comes with it. But also the pedals that people use to sing. At least this kind of modern music, I know in my youth it was just raw vocals, but now people use different equalizers and pedals. Yes, I don't literally sing, it's always carried by other voices. I always like to mix the two. Phonologically, your dystopia or contempt continues to call my attention. And musically, of course, I love making beats and making beautiful sounds over synths or dark bass lines.
I started making music to process deep pain. What is the driving force behind this EP, emotionally and thematically?
I think the main issue here is the difference between [ No Compromise ] and [ All Or Nothing Volume 1 ] is [the] first thing I've done with Ableton, the first time I've ever used a program like that. So now I'm on it and can use it better. So here's the emotional impact behind it: I'm getting stronger as a creator and a producer as I've learned myself. And I think I've always had a political point of view that I'm very angry with the industry and how male-oriented it is. I spent the last year working a lot and going through a lot of bad situations with guys and high ranking people. That's always been my motto, cheer on friends who have to beat it. I don't know, it's like the big issues: getting frustrated with the industry and still going underground and do-it-yourself. And even if many stand in your way, keep going.
In another interview you said that the music on this EP is one of the fastest you've ever made, was that intentional or did it represent something? Or just a test result?
I think I have become more comfortable with the software because it is capable of working with different BPMs. Compared to the first EP where I stuck to the same BPM, it's a bit, I think it's easier to make slow music, I don't know how to explain it. I also dream of making a Powerviolence album or EP one day. This is my way of combining the two, as I think PowerViolence is more like 160-180bpm. So finally I want to get to the point. I was inspired by this band I played with in Long Beach, they're from Olympia, they're called Cyberplasma and they mix PowerViolence with Jungle. So yeah, I'd like to blur the lines a bit because I thought it was so different. But every time I think about it, I think, "Well, they're both really fast. They both have strong basslines; they both involve or could involve screaming. It's a bit of mixing up my effects and also the range and ability to do it." "because I know more about Ableton."
His performances are known for generating wild energy and intense emotional catharsis. Looking back, were there any differences or developments that shaped your approach or philosophy to performing live from your first live show to your last show?
Yeah they definitely have changed, in the beginning when I was doing garden shows I was definitely trying to hide more than show. And now, in the few years that I've had a lot, I've become more myself. I was the type of person who would get nervous and sweat in front of people. But now I feel braver and fairer in my body, or I don't know, yeah, I'm sorry, because that means I get a little carried away when I work out. I feel like I'm having this out of body experience. The difference is that at first I worked alone. I've expanded it now, it's in transition, but last year I was with my girlfriend DJing and mixing my tracks, and she did her own covers and did some backing vocals, and now I'm the partner starting out doing some beats How we play old songs, but also how we play new things: it's live, everything is live, the beats are done live and my DJ will do the background vocals. So yeah, from the vocals to the backing track, it's all going to be live instruments now. So it changes a lot. I'll still be a singer, you know, so I'm still a mess. I think they're still getting crazier and crazier because I'm confident on stage with my friends like me.
Having grown up in the hills of Granada, one of the attractive things about punk culture is that it can create a community outside of live music. Do you see this as a goal for your progress in music and acting?
I grew up in Granada Hills, but there wasn't much of a music scene. These areas were primarily Sylmar, North Hollywood, and Canoga Park. And I have to say, I never really felt a sense of community – I was part of the scene, which means I was going to the show and connecting with people in bands etc., but it was very male-oriented and that's me. They are always isolated. They have never forced me to do it and nobody involved me in anything. Now I am Solterra and the joint team that I lead with Pacoima Techno, Casa/Teca, that is how we build communities. We're getting our friends involved in music videos, we're making music videos for them – this is my way of engaging people and empowering each other, and it's more queer focused. I have this sense of community in my shows, I'm sorry, especially the shows I've done in LA, all the shows are super POC, queer, female. And I feel like people are receptive to what I say and what we stand for. My goal is always for everyone to feel included and united in some way.
Since I started making music, I've started hosting a monthly show that highlights underrepresented artists and helped start an alternative record label, Artists of Color, with the same goal. Can you explain the importance of these projects?
I think they are both similar and different in their own ways. Casa/Teca was founded by Bakuma Techno and I, we played long before the pandemic. Pacoima had a techno party and there were no record companies trying to sign us, so we decided it would be cool to start our own label, and we didn't have any music either, so it was a way of motivating ourselves to release music and release. when we wanted We want and how we want. That inspired us to make more videos and movies, so it was also another incentive to post videos. That's how it started, and I was joined by my collaborator/DJ, now part of my band, Stephanie , also called Langgusta , and another friend.
So let's create our own universe. We have photographer friends and we consider them part of this, or author friends and we consider them part of this. It's much more, it's not just music, but all kinds of artists. It's very DIY and also comes from a place where you feel like an exile. We really all went back to the bridge category, never getting into any kind of scene. Also, the way the industry works is that you are the richest, whitest, sexiest, or only person you know. We really don't care, it's unethical to follow what we believe. Casa/Teca is a world where we can do what we want and what we don't want, we don't have to think about all the other things that don't mean anything to us.
Todo O Nada is basically a record label based in Los Angeles from the 1990s. It was called Ton Records and they put out grunge and shoegaze and my father was a Colombian immigrant, fresh out of jail and in his 30s who found out there was been doing a lot of drugs all the time. Music Shows - Just because Ton Records presented North Hollywood Grange and Rock en Español. And he learned to record his own music and was DIY himself. He was a man who received no recognition for his music and never worked in his own garage until his death. So Todo O Nada is a tribute to him, like picking up where he left off and following his dream. And the music I play only represents local artists or even unsigned international artists.
Can you tell us something about the meaning of your last name Solterra?
It's always hard to choose names, and this first came to mind because I started making music after my father died. I've talked to my mom a few times and now she's starting to use that word "single" and I know I've never heard her use that word but never in my life because that's how she defines herself. She is married to my father. I started using it over and over again, like "Me and my friends from Solterra, let's dance" or "Me and Solterra, this" or "I'm Solterra." Whether you were a widow, single your whole life, or a lone wolf, it had many different meanings. It meant a lot to me and during that time I felt sorry for my father and felt very lonely and very sad. So I really like this name and I think it is also a very powerful name for girls. I love all the women in my life, I feel like every girl I've ever had is Solterra and recognizes her. It seemed like it reached a lot of people and I didn't even change it to engage people because I felt like a Solterra. We all have our nicknames Soltera is a band now, but Lobster is still Lobster and Pacoma Techno is still Pacoma Techno and I'm still Solterra.
You are a self-proclaimed Colombian working in predominantly white, male, industrial and genre music. Based on your own experience as an artist, what advice would you give to outcasts like you who are just starting to experiment with their computers or have just bought their first synth and feel the burden of being underrepresented in the industry?
When I started I didn't have what I have now, I did it, it took me years. I do not know, I do not know. Music saved me and for people who don't look and still act like everyone else, I always take credit for reminding us that our biggest influences of all kinds are that we're all made of brown and black, and people. Not of wealth. One of the things that encouraged me the most was that every time I made friends with the people there, they would talk about how it takes up to ten years to know someone. So thinking about it this way seems difficult, but it gives me hope that it is a process that takes a long time, like any artistic practice. And also to see differently than you expected, right? I don't expect, I don't see that in capitalism. I do it because I love it and because it helps me survive and of course I would like to have a job and earn money, but in the last year when I started thinking about it a lot I felt like I was working so freely. for me. So I had to take a step back and really think about why I did this. And in the end it wasn't the money, but the fact that I finally felt seen. I say that time is needed, so as not to have too many expectations.
In many ways, Solterra represents a new generation of artists who view historically marginalized groups as "the music industry" and seek to change longstanding industry norms. As she teaches herself to walk these unknown paths, Ordoñez's willingness to help others find their way is a reminder of the importance of community in music. It must be based not only on the pursuit of common good, but also on a love of art or an appreciation and respect for black and brown voices.
Visit Soltera at your band camp to stay up to date on new releases and tour announcements.
Listen to Solterra's new EP Todo O Nada, Volume 1 below!
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