“Panorama is all about a journey. I wrote the songs and lyrics while thinking about real experiences I’ve had but imagining what it would be like if I were to take my daughter along on those trips I took alone many years ago. ”
– Sandra Velasquez
Sandra Lilia Velasquez is a force of nature. Dubbed “SLV,” she’s as driven and passionate as an artist as she is a mother.
Singer-songwriter and multi-instrumentalist, Sandra is known in the adult music world as the lead singer of the nationally and internationally acclaimed Latin group Pistolera and front-woman of SLV, her solo effort. She also is the songwriter and lead singer for the bilingual (Spanish-English) kindie band Moona Luna.
Since their 2006 kindie music debut, they have released three highly acclaimed albums. Panorama, Moona Luna’s most recent release, was inspired by Sandra’s journey as a mother, world explorer and lover of travel.
I had a chance to speak with Sandra about the album, and dive deeper into her creative process. What swelled from the conversation was a sheer tidal wave of insight, strength and passion in a way that only Sandra could deliver.
Panorama is available through iTunes, Amazon and Bandcamp. For more information and to stay up to date with Moona Luna, subscribe to their YouTube channel, and find them on Facebook and Twitter.
Kids Can Groove: Panorama was just released and it’s Moona Luna’s third album. I love how it blends together themes of travel, love and family.
Sandra Lilia Velasquez: I feel like it’s our best album. I think everyone feels that way about their newest work, but that’s actually how I feel.
With the very first Moona Luna album, kindie music was new to me. My band and I had been playing together for 10 years as Pistolera with a musical vibe very similar to Moona Luna. It was Latin music. It was upbeat. It was in Spanish, but the content was much more adult. Pistolera’s songs are about immigration, feminism, and life issues – things that children can’t relate to.
When I was writing the first Moona Luna album I thought, “Okay, how do I get in touch with my strong, non-political side, kid-friendly side?” I had my daughter as my guide. She was only three-years-old so the themes were geared more towards her age group and her interests. With the second album, my daughter was learning about time, what time is and how to tell time, so the songs on that album related to a time theme.
My daughter is now eight-years-old. The content for Moona Luna has grown along with her and on Panorama it’s clear that we’re not tailoring it to three-year-olds anymore. We’re just playing music and trying to make it sonically fun with singalong parts and fun instruments but it’s a little more of a grown up sound.
KCG: Has your journey of motherhood influenced your journey as a person and a musician?
SLV: Yeah, I don’t know how to separate them. Now that I have a daughter, the reality is that I can’t go on tour for a month. You really learn how to use every moment of every day, whether it’s a moment for yourself or whether it’s moment to spend with your child. As a musician, I really have to plan everything out – working on music certain days or planning what I’m going to do after my daughter goes to sleep. Everything is worked around having a child and I’m sure that this will change as she grows. At every stage you have to keep living your life with the schedule of the needs of the child. I can’t even picture what it would be like to not have a child. I have friends that are musicians that don’t have children and I just think you have no idea how much time you have.
KCG: So true! My daughter is seven-years-old now and it has gotten a lot easier, though now that I have a little more time I tend to reflect on my own childhood and think about how I can model certain life skills for her. I really relate to the family theme in Panorama. “I’m Always Here” and “Llevame” both have a kind of motherly/parental, reassuring vibe to them.
SLV: Panorama has a very strong family theme. You can’t really separate the family theme from the album. There are some people that play music for children who don’t have children. I always marvel at that because my music is so informed by my experience of having a child. You know those feelings that you can’t really explain to other people or that you could explain but it sounds very abstract? Like what it feels like to be protective of someone eternally. People, they know what that means in the abstract, but they don’t know what that feeling is. So those songs on the album are very much informed by that experience of being an actual mother and watching someone grow.
As your child grows, one day you realize they are becoming like you or you are becoming like your parents. You have this moment of “Wow…” You really learn by watching your parents be themselves. I don’t think that I actually realized that until I was completely in my 30s. It’s not really about what your parents tell you to do. It’s about how you see them live their lives and you decide if you want to mimic some of those traits.
I write from the experience of being somebody who loves somebody unconditionally and is watching them grow and wants them to want to be independent and wants them to be strong in the world but also wants them to be a good person.
KCG: “Espejos (Mirrors)” is one of my favorite songs and the message in the song really relates to, as you say, realizing your children are becoming like you or you are becoming like your parents. Specifically in the words, “Did you ever wonder why your smile looks like mine? / Just like my mother before me. / Our laughter has the same ring.”
SLV: Mirrors are the things we all see. When you look at your child and see that they have your hands, or your feet or your eyes. And you see how you’re connected with your own parents. It’s almost so obvious to say it but that’s really the root of that song. Espejos is really the things you see in your child that are part of you. You feel like you’re looking in a mirror.
KCG: You are a part of 3 bands (Pistolera, SLV and Moona Luna). Previously, you talked about having a schedule and maintaining a work-life balance. How do you stay true to the work and the process required to fulfill the role of mother and musician while also setting an example for your daughter?
SLV: I was lucky to have mother who was extremely strong-willed and driven. She is an immigration lawyer, activist and professor. That is why I am the way that I am. When you are young, you don’t understand. I would think, “You’re never around. Why aren’t you here?” Then as I got older, I realized she just loved to work; her job is not just a job, it’s her passion. It’s her career. That work ethic and that kind of dedication to your passion translated into music for me. I’m the same way as my mother. I just go for what I want. My daughter will learn by watching me be myself.
KCG: Does your daughter join you for live performances and is she also involved in music?
I bring my daughter with me as much as possible. She comes to my shows. She’s backstage with me. She sits in the audience. She’s at the merchandise table with me. If I can bring her, I will bring her. She’s seen me perform a million times now. She sees me practicing. The lesson is if you want to be good at something you have to practice and put in time with it. I was forced to play music as a child and I hated it and couldn’t wait to quit.
I’m not forcing her to be a musician but I want her to practice something. When you’re older, no one is ever mad that they play an instrument and speak two languages. No one ever says, “I wish I didn’t speak another language” or “I wish I didn’t play the violin.” It’s hard to learn anything new but if you can stick with practicing something then over time you do get better and you have this additional skill. Not everyone has that.
For me, of course, I always laugh at the poetry of the fact that my mother forced me to speak Spanish and to take piano lessons, both of which I rejected at the time and now I’m a musician and I sing in Spanish. I guess Mom was right.
KCG: Was Spanish the primary language spoken in your home?
SLV: Yes. My mom is from Mexico. My Dad is also Mexican but he was born in California. So, he’s basically Chicano. I was born in San Diego and growing up, my mother basically would just not answer me if I didn’t speak to her in Spanish. My Dad was a little more lenient so I would always go run to him.
KCG: Did either of your parents play music or did you grow up with music played in your home?
SLV: My family is not musical. Both my parents grew up with very little opportunity and they were proud to be able to provide me with an opportunity like piano lessons. My father is an artist, a painter, and was very encouraging artistically. All the walls in my bedroom were murals. He just gave me the paintbrushes and acrylic paint and said, “Do whatever you want.” As an artist, he understands that urgent feeling inside like “I need to go create!” or “I need to go paint!” or “I need to go write a song!” or “I need to go play the drums!” Whatever is your passion, it’s like a drive – a calling – that you can’t just stop. Not every parent gets that.
As a musician, you always hear these stories about other musicians and how maybe they grew up singing in the church or both of their parents are singers. I did not grow up in that kind of family so I feel like I have to work really hard at music because I don’t feel like there was any genetic traits sent down to me to be musically inclined. Both my parents are super supportive, though. They give all my records to their neighbors.
KCG: Was your family into travel?
SLV: Yes! Travel was instilled in me at a young age. We took a trip every year, visiting places like Canada, Mexico, Hawaii. We have albums full of family photos documenting our trips. My mother traveled a lot for work, still does, and my father would always go to the museums in Europe. Everyone in my family loves to travel so it seems like my passion either comes the experiences of taking family trips or it’s a genetic thing where we have this drive to go places.
KCG: As a musician, you’ve been able to tour – nationally with Moona Luna and both internationally and nationally with Pistolera. Was the idea of touring a kind of compass directing you toward becoming a musician and forming a band?
SLV: Traveling is a crucial part of my life. I always have to have a trip planned. Travel is a huge luxury and such a gift to be able to do. I just love going to other places seeing how other people live. Traveling puts you in your place in the world. It’s very easy to get caught up in your world and think about how things are a certain way.
As a musician I get to do two things that I love to do: travel and play music. Travel informs my music and the more you are informed and the more experiences you have it all becomes fodder for writing. You have to have something to write about.
KCG: As you reflect on/were reflecting back on your own travel memories, and also imagining traveling with your daughter, what would you want her to see or hope that she gets out of it?
KCG: In Old School Way you say “I can take it all,” “I can take it in.” Was there a particular experience tied to that feeling of greatness?
SLV: I’ve been to a lot of different pyramids in Latin America – in Mexico, Guatemala and Honduras. You go really early when the sun is first coming out and it’s pretty magical. At the top, you can see the entire jungle floor and it just looks endless. You don’t see any fences; there aren’t any parking lots. It’s just completely free, open, lush jungle. We have natural wonders here in the U.S. but in terms of architectural relics we don’t so much have that. The Grand Canyon is beautiful but touristy. There are probably parts where you can go and feel like you are the only one. But, you don’t see the parking lots when you are at the pyramids.
KCG: Many of the songs reference walking or things you saw on the streets.
SLV: When I was visiting Latin America, I always just took the bus somewhere and then walked around a town. I am always interested in really being in a place so I never do tours or anything guided. I never rent cars. I usually walk or take buses. In the songs you refer to, I am flashing back to walking around the town square in Chiapas, Mexico, on cobblestone streets. There is no better way to get to know a place than to literally walk around it. You stumble upon things like restaurants or climbing steps to get to a church on top of a hill. It is just very freeing.
KCG: How did you come up with the name and concept for the album?
SLV: I’m always looking for titles that are bilingual. Panorama is a perfect example because it’s the same word in English and Spanish. Once I thought of the album’s title, it was just easy to come up with songs that related to the themes of travel and family. The title is like the seed. I also like having a theme with an album, which is something that is recurring with Moona Luna and some Pistolera albums, too, where it’s about a whole experience or a whole journey.
Panorama is all about a journey. I wrote the songs and lyrics while thinking about real experiences I’ve had but imagining what it would be like if I were to take my daughter along on those trips I took alone many years ago.
KCG: What was it like to relive your memories by envisioning them with your daughter? Does it change the experience for you in any way.
SLV: Yes, in a couple ways. First, I can’t do anything dangerous. If I was alone, I might stay in a cheap hostel not in the best part of town. With a child in tow, I would never take those risks. Kids tend to not like lying around in hammocks drinking vodka! I would have to consider things that are also fun for her.
KCG: Panorama has more of a rhythmic sound to it than previous albums. Did you change the arrangements to flow along with the songs?
SLV: The style that you hear in a lot of Moona Luna and Pistolera songs is called Cumbia and that is very popular in Mexico. It’s actually Columbian but it’s very popular in Mexico. Some people hear it as Reggae or some people hear it as Ska. I grew up just hearing that in San Diego because it’s like you just can’t not hear it. It’s not even like my parents were blasting it on their home stereo. You hear it from a car driving by or the people in the restaurant are playing it. I didn’t really notice how much it was played until I moved to New York.
I wrote Panorama with my songwriting partner, Sean Dixon, who has played African music for many years and played bass on the album. Sean is also a drummer so he brought in a different rhythmic element to get me out of my Latin groove, which I could stay in forever, so it was nice.
KCG: What would you like our audience to take away from listening to Panorama?
SLV: Travel is something that is dear to my heart and I feel that to be able to communicate that through an album is really cool because the family trips that you take when you’re kid really stay with you. I feel like a lot of people can relate to traveling with their families. Together, you get to experience something new, something different and maybe you learn something. People always remember being in the back of their parents’ avocado green car. They remember how it smelled how it felt and those are the memories that stay with you.