A classically trained virtuoso composer, producer and musician with a growing discography of original sounds, Carlos Aguilar aka Concrete Husband haunts NYC’s dancefloors with dark electronic symphonies… and now has new music to share.
Thotyssey: Hello CH, How is summer treating you so far?
Concrete Husband: Summer has been quite the journey so far, with many new and exciting developments.
You’re a DJ, a composer, a producer and a musician… do you ever feel like you’re being pulled in a bunch of different directions, or does that all kind of work in tandem?
I would say both sentiments are true. It greatly depends on my weekly projects. At times it leans more producer / composer and at others it leans more DJing. Ultimately, all my practices I have developed as individual skills are in conversation with each other. Without my history as a musician in classical music and the avant-garde or my journey as a DJ and techno producer, I would not be able to shape sounds in the way that I do. Together, they have guided me closer to what I believe is the voice of my creative self.
Where did you grow up, and what kind of music was a part of your life early on?
I grew up in North County San Diego. And I would say that classical music is probably the most present in my early life. Since the age of 9, I was obsessed with it. Also, my newfound access to YouTube during that period fueled my exploration. I went from listening to Beethoven and Strauss and quickly moved on to Stravinsky, Ligeti, and even Stockhausen by the age of nine. The rest is history, since I devoted my entire life to pursuing a career as a classical musician and eventually went to New England Conservatory.
I’m also first generation Mexican-American, so I was around the music my family would listen to — which ranged from classic rancheras and Mexican pop music.
When did you first pick up the flute?
I started playing it when I was eight, as part of my public school music program.
You toured Europe with Eartheater playing the flute last year… that must’ve been a life changing experience!
Of course. There is so much about what I could say with that experience. But truly a once in a lifetime moment; my life changed forever. I would not be here without the generosity and insight that Eartheater imparted in me at such a critical moment in my life and career.
I always find it interesting when classically trained composers and musicians discover electronic music and start creating in that genre. What inspired you to make that leap?
I think the main departure was how disconnected I felt from the classical / experimental community. It felt like in an echo chamber of ideologies that did not nurture or want to encourage every facet of who I am. I started to go out and party in Brooklyn soon after Covid, and then that took over a good chunk of my focus with creative pursuits.
Ultimately, I was mainly producing dance and club music before I was DJing. I always was a producer / composer first, and performing was a means of communicating the work I was making.
Does the art of composing electronically follow any sort of similar pattern to strings and traditional instrumental composing, or is it an entirely different animal?
I would say my approach is similar. The fundamentals of composing from a western lens is deeply rooted, since I have been training formally since I was a child. So I build things in a very bottom up way (bass / kick, harmonic progression, instrumentation / sound design, etc.) So they are different languages of course — not everything translates — but I certainly lean towards a consistent affect when it comes to my music. There should always be a sense of fantasy — a surrealism with a palpable, visceral expression.
Is there a story behind the name “Concrete Husband?”
It mainly comes from my struggle to find a name that felt whimsical, but encompassing of my personality and aesthetic practices. At the time I was making very fast, intense music, playing a lot of hard techno and industrial techno, so I thought a lot about words that captured that feeling. “Concrete” was representative of my more dark intensity, and as a hopeless romantic “Husband” has a lot of meaning as far as being nurturing and loving. So the combo of the two felt like a concise way to explain that within me and my practice, I hold these two polar energies in equal value. They together make me whole.
When you’re out DJing in nightlife, are you mostly playing a mix of your own originals and remixes along with other artists’ sounds?
As a DJ, I mainly pull inspiration and tracks from peers and underground artists. I sprinkle in a few older cuts of course, and some from the more established artists that I look up to. In every set though, I do intersperse my original music both techno and not. Most of my intros and outros, I have made. Most of the the ambient / experimental tracks I play in a club are mine. So there’s always a mix of things.
DJing is a way to find relationships and conversations within my music and that of people from different time periods and parts of the world. It’s a way to continue discovering how my language fits into the broader landscape and fabric of this music.
You’ve released two records via White Owl: Piel and Pelvic Resonance. What’s your relationship with that label like?
This team has been integral in the development of my sound and approach to creating a techno album. They’ve allowed me to be exploratory, and not hide from my multiple musical voices.
I watched a video you made for the “Piel” title track — stunning choreography featuring yourself and a group of dancers! Do you have a dance background as well?
I don’t, really. I dabbled a bit when I was younger, but I definitely look up to dancers. I have always been surrounded and inspired by them. I want to incorporate more movement into my work. On July 25 at the Amant Center, I will be premiering a brand new evening length solo piece that will be highly theatrical and movement based.
I was lucky enough to get to work with such talented and powerful dancers on the music video. Akira Uchida, the choreographer, really helped pull this together– a magician of the body.
What are your thoughts about the state of composing today? Are artists being brave and creative enough, are consumers too uneducated, are platforms too gatekeepy… or is there hope?
That’s a bit of a multilayered question. But in general, I believe that capitalism and influencer culture dilutes the rigor and quality of what musicians must engage with to make potent and long lasting art. That being said, I don’t mean formal training in music… but just a constant, meaningful and intentional research, and sonic explorations that extend beyond “this is cool.” As culture workers, we have responsibilities to communicate about the world we live in… and that requires a deeper understanding beyond the music. It’s not about being famous, and it’s not about being hot. I think there is hope in music making. My friends (both musicians and artists in general) here in NYC and around the world give me hope.
Let’s talk about the Your Bitter Tears event at Bossa Nova Civic Club, i.e. a release party for your new music under the Aversion label, this Wednesday.
I will intersperse moments of the new EP during my performance, but I will mainly be playing parts of my live show. Last release party I DJed, but this one I wanted to share more music that is in the process or unreleased. A way of communicating further the sounds that extend beyond the club music and influence my techno. Additionally, I am so excited to include some friends that have played sets that leave me inspired. Overall, it should be an evening of celebrating the folks and sounds that influence my work and life.
And I see that on Saturday, you will be part of a secret location lineup for “Session Infiniti!”
Yes, the Play Me techno series is cool and new. It’s run by a group of friends that are all ravers and professional, contemporary dancers. I’m very excited to welcome the sunrise with them this Sunday morning.
And now tell us more about that installation at Amant on the 25th that you meantioned earlier.
It’s my first official solo show with an arts institution. I’m writing a brand new evening length work. This one will be very special, and is in collaboration with a few talented artists. It’s a piece in which the narrative is dealing with a journey of losing one’s self to dreams, and how they can turn into nightmares. How our own evil with can push us to an extreme of self-destruction. The current political climate is obviously on my mind. It’s a sort of lamentation of the state, and trajectory of my home country.
Looking ahead to August 8, you’ll be part of MoMA PS1’s summer series “Warm Up” dance parties!
Yes! I’ll be starting out early in the afternoon with a solo live performance. And then right after, that same evening I’m performing another solo show at Little Island curated by Papi Juice.
And looking ahead to Agust 30th, you’ll be at BASEMENT in Queens with an incredible DJ lineup!
Yes, so excited to be playing at home base. It’ll be fun to play a peak time moment with my bebé Annie.
What else is coming up for you?
There’s a dance theatre piece I am scoring to premiere at La Mama in December, but those deets are still under wraps. But it’s one of my dream projects. Stay tuned!
And lastly: what’s your best advice for a new DJ today who wants to make it big in NYC nightlife?
Navigate with kindness and integrity. Always curate with intention, and recognize the responsibility of filling a room with sound. It’s not just a gimmick or moment to be a party kid — it’s an art form.
And always check back in with the dancefloor. By that I mean, make sure to go dance, and find your community and your sound.
Thanks, CH!
Check Thotyssey’s calendar for Concrete Husband’s upcoming appearances, and follow him on Instagram, YouTube and SoundCloud. Download and stream his music across multiple platforms.
Thotyssey 