One thing’s for sure: We need our fair share of percussion overdoses every once in a while. And so we were more than happy when we first heard “Pasco” by the already very much appreciated Norwegian Charlotte Bendiks. After we witnessed some of her formidable DJ-Sets also in Dresden there needn’t to be a long debate about including the tune on one of our next compilations. And now it’s out. You’ll find it on our RED record.

Since we always attach great importance to the small talk competence of our listeners, we thought it would be interesting to compile some background information to each release. So, here’s Charlotte Bendiks talking about how the track came into being.

How did the record come about? How and when did you produce the tracks?

Pasco’s idea started in a street named Pasco in Buenos Aires. I recorded what became the rhythm and bass for the track there while visiting my friends Caro and Isma of Carisma. Later on, I recorded the synth melody and the flute and eventually I finished the track.

Was there a musical premise or sounds you wanted to approach?

It was more about a story that I wanted to tell, but it was very difficult to visualize the full meaning of it in the beginning. I guess both the track and I needed to mature before the story and the track could be finished, trying to somehow connect my roots with my search for identity in other corners of the world. 

Is there anything special that connects you to Uncanny Valley? A record, a party or something like that?

I think my first meeting with UV was through Jacob Korn in Montevideo in Uruguay. It’s kind of funny since it is so close to where I started making this track… And I would say my friendship with Albrecht is a big part of my connection to the label.