Chilean artist VITTO unveils his raw, one-shot debut EP, blending Country, Folk, and Blues with vulnerable storytelling. In this interview, he reflects on identity, loss, healing, and the creative vision behind his work.
1. Your EP “VITTO” blends Country, Folk, and Blues through a uniquely Chilean lens. What first drew you to these traditionally American genres, and how did you adapt them to reflect your own cultural identity?
I discovered Johnny Cash’s music very early, around 12 and became obsessed with his music but also with his unique personality and values. For me what’s beautiful about country music specifically is the songwriting, and how can you tell stories through melodies. And about my own cultural identity, I would boldly say that I’ve never felt attached to Chilean culture, so my music style and lifestyle has always been molded by the musicians and artists that I admire.
2. The EP was recorded entirely in a raw, one-shot format with no edits. What personal or artistic truth were you hoping to capture through this vulnerable approach?
It was a decision we took with my producers due to the vulnerability of the songs and that I wanted it to sound very 60’s almost like it was recorded live. Since I came up to them with the songs completely finished (lyrics, music and even arrangements) for the producers that was something so new to them so the way they wanted to contribute it could be strictly with this kind of ideas, like doing and recording everything in one-shot format.
3. The songs explore a duality between love and grief. What role did emotional transformation and healing play in shaping these tracks?
I was experiencing the biggest grief in my life, going from being at your highest emotionally, being in love real love for the first time to suddenly death taking away that love from you. Writing these songs for me was incredibly therapeutic, I didn’t really know how to express what I was feeling in words but with music it came out so smoothly, I wrote the songs in the exact EP order and all of them were written in less than 20 min each.
4. You composed, performed, and recorded every instrument yourself. How does full creative control influence the emotional weight and authenticity of your music?
I think it made sense for me to doing everything on my own, conceptually speaking with the record. It was my own weight being lifted by myself, if we want to put it into a metaphore. Artistically talking not going to lie I do enjoy doing everything and being in control, so at least for this debut release I knew it has to be done like that.
5. You’re also recognized internationally for your work in film, poetry, and creative direction. How do these different artistic disciplines feed into the visual and narrative identity of “VITTO,” especially the cinematic music video for “Song For Her”?
When I think about VITTO and the record for me it always comes visually paired with cinematographic images, art and all. I’m a huge film enthusiastic since I was little, I adore cinema very much and I would to work and be involved more in that field, so it did make total sense for me that the music video was directed by Forch, who is a Chilean filmmaker I admire a lot and also one of my closest friends. When I make music or even when I listen to it for it always has to come with a visual concept, with something more concrete, so the music video of “Song For Her” was inspired in all of these feelings and the whole story behind the record.
6. As a transgender artist gaining visibility within Latin American folk, what message or feeling do you hope listeners — both in Chile and abroad — take away from this debut?
I think is very important for me as a trans person to be visible for the LGBTQ+ youth. But also I don’t want to be recognize for being transgender, that’s just a part of who I am, for me VITTO as you said is a record of duality of love and grief, which is something any can relate to, as human beings we do all experience situations that tear us up in a way. I do hope people worldwide beyond Chile give my music a chance and like I said, for me is much more predominant that the industry and the public can recognize me for my music, my songwriting, my session musician work more than just “being a trans guy”.
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