THEKOIWAY Talks New Single, Music Video And More

THEKOIWAY is a boundary-pushing Latin Alternative project led by Chilean multi-instrumentalist and producer Victor Vildósola, blending Andean instruments, funk grooves, hip-hop rhythms, and Latin folk into a genre-fluid sound best described as global, gritty, and deeply human. He chatted to us about his latest single ‘“La Calle Quema” is a collaboration with Chilean artist Jamez Manuel (Zonora Point):

When did you begin singing/songwriting?

I started writing music seriously around age 15, when I joined my first band in Santiago. Before that, I was already experimenting with lyrics and melodies in my bedroom, mostly inspired by folk and classic rock records my family played at home.

What is your earliest musical memory?

Learning “El Rin del Angelito” by Violeta Parra on guitar when I was eight. It was a melancholic lullaby, and even at that age, I could feel its emotional weight. That song cracked open something for me—it was the first time I understood music could carry deep truth.

You have your new single ‘La Calle Quema’ which is out now. What was the story/inspiration behind the track?

The song is about the contradictions of urban life—the street as a place of pain, but also of community, survival, and resistance. It was inspired by real-life stories and imagery from the Bronx to Santiago. It’s raw, rooted in social tension, and grounded in the poetry of everyday resilience.

The single features Chilean rapper Jamez Manuel. How did that collaboration arise?

We first met in Mexico City back in 2012 while both navigating the independent Latin music scene. That same year, we wrote a version of La Calle Quema in my home studio in La Roma Norte. The project was shelved for years, but I always loved the idea. I reworked the track last year and sent it to Jamez—he was instantly on board to re-record.

The single is accompanied by an official music video. What was the thought process behind the video and who directed it?

I directed the video myself. We shot between Santiago and New York, capturing the textures, contradictions, and grit of both cities. Visually, I drew from urban realism and street photography—no storyline, just raw energy. It was important to show the pulse of the street as it is, unfiltered.

Where did you record the single and who produced it?

The song was recorded between my studio in Brooklyn and Kinshasa Studios in Santiago. I produced the track, with mixing by Rocky Gallo (who’s worked with John Legend, Mary J. Blidge, Cigarettes Afer Sex, Perry Farrel, and Rick Ross) and mastering by Tom Waltz, known for work with Wu-Tang, Coolio, Gang Starr- Guru, and Skatalites.

Do you have any interesting, funny or memorable stories from the recording sessions?

It’s kind of funny how a demo we shelved for over 12 years suddenly came back to life—fully produced, with a video, a behind-the-scenes feature, and even live performances—all in a matter of weeks. Cutting vocals with Jamez in Santiago felt surreal, especially because it happened during the same trip when I released my previous single El Juego de la Vida. We shot the video for La Calle Quema and performed it live in that same week. After all that time, the track still hit hard—like it had been waiting for the right moment. It was definitely a full-circle creative rush.

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

Guitars were tracked using my Fender Stratocaster through a Kemper Profiler, giving me access to a wide palette of amp tones while maintaining clarity and punch. I ran that into my Universal Audio Apollo interface, which gave the signal pristine digital conversion and access to high-end plugin emulations for subtle tone shaping.

Vocals were recorded with a Manley Reference Cardioid mic—known for its rich presence and detail—through a Neve 1073 preamp, a Pultec EQ, and a Tube-Tech CL1B compressor. That chain gave the vocals a warm, polished feel while keeping the raw character intact—perfect for a track that lives between street grit and studio precision.

The mix was handled by Rocky Gallo at Virtue and Vice Studios in Brooklyn, where he ran everything through their vintage Neve 8026 console and a full arsenal of outboard gear. That setup brought the track to life with a sense of depth, saturation, and analog warmth that you can’t fake. The goal was to blend old-school soul with modern punch—and I think we got there.

Which of your tracks hear you at your: a) happiest, b) angriest and c) most reflective?

a) Turn Up The Music — pure joy. It’s upbeat, rhythm-driven, and all about celebration. I collaborated with J-Nana on this one, and the energy is contagious—it’s a reminder to let go and move your body.

b) WENGAMEN — definitely the angriest. It’s driven by a sharp, aggressive guitar riff and a pounding 808 kick that doesn’t let up. I wrote it during the height of the 18-O social uprising in Chile, channelling the chaos, rage, and urgency of that moment.

c) El Juego de la Vida — the most reflective. It explores identity, generational tension, and emotional inheritance. It’s introspective but still rooted in rhythm and story.

Do you have any further music releases planned for 2025?

Yes, we’re releasing our first LP later this year—targeting October or early November. We’re also putting out a 4-song live session video recorded at The Bridge Studios in Brooklyn by the end of July.

What two things do you hope to have achieved once you have left the stage?

That people felt something real. And that someone who thought they didn’t belong, saw themselves in our music.

Do you have any favoured stage instruments, effects, pedals, microphones etc?

Live, I usually play my Limited Edition American Standard Fender Stratocaster with the channel-bound neck in Olympic White, or my Butterscotch Blonde Telecaster—it’s a ’52 reissue and has that classic bite and warmth. Both run through my Bugera V22 Infinium 1×12” all-tube combo amp, which gives me enough power and tone for almost any room.

I use different pedalboards depending on the gig, but there are always a few staples: my VOX Wah, the Holy Grail Reverb, a Boss DD-2 Delay, and the Wampler Hot Wired dual-channel distortion. Those four are non-negotiable—they give me everything from subtle ambience to full-on growl.

I run backing tracks through Ableton Live, which gives me flexibility to adapt to the setup. I can go full band and just use a few elements from the session, or scale it down to something more intimate—like just the lead vocalist and me—while still keeping the energy high with the full arrangement behind us.

For vocals, my go-to is the Neumann KMS 105. It’s super detailed, cuts through the mix without being harsh, and just feels right in my hand.

How do you look after your voice?

Steam, rest, and lemon-ginger-tea. I’m not a singer in the traditional sense, but I treat my voice like an instrument—if it’s not feeling right, I work around it, not through it.

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

Los Detectives Salvajes by Roberto Bolaño. It’s poetic, political, chaotic—like life on the road in Latin America. I’d love to capture that mood with music.

Where is your hometown and could you please describe it in five words?

Santiago de Chile: smog, Andes, sopaipillas, terremotos, Terremoto.

For context:
Sopaipillas are a classic Chilean street food—fried rounds of pumpkin dough, often served with pebre (a spicy salsa) or drenched in sweet chancaca syrup on rainy days.
Terremoto (which means “earthquake”) is also the name of a legendary Chilean cocktail made with sweet pipeño wine and a scoop of pineapple ice cream—delicious, deceptive, and just like the real thing, it can knock you off your feet.

Do you have any live dates in the UK/Europe planned for 2025/2026?

Not yet confirmed, but we’re working on building momentum that would make a UK/Europe tour viable after the album release.

What makes THEKOIWAY happy and what makes you unhappy?

Creating freely and connecting with people across borders makes us happy. Censorship, indifference, and systems that silence vulnerable voices—that’s what makes us unhappy.

Feature Image Photo Credit: Gonzalo Donoso

Listen Here: https://open.spotify.com/track/5Ge85Y8hydjcf0hYbSRUr6?si=ff75dd9890274f51&nd=1&dlsi=f04d846ea5434fb5

For more information visit his official website: www.thekoiway.com