VICUÑA started as a score. I wrote it for the official Jujuy Film Commission spot, trying to build something that could sit inside the image without making it feel heavy: air, tension, landscape, and a sense of movement that felt closer to cinema than tourism.
What interested me most was approaching it as a producer and composer, not just as someone dropping music under a video. Jujuy already has a strong visual identity, and the Commission has been pushing that idea of filming in Jujuy: locations, shoots, permits, local crews, and production incentives. The score had to belong to that world without turning into inflated drama or generic background music.
I also liked that the spot was part of something real. Jujuy has already been tied to projects and names like Juan José Campanella, China Suárez, Álvaro Morte, Luisana Lopilato, Duki, and Cazzu. That gave VICUÑA a stronger context: it was not music for a postcard, but for a province that is already part of the audiovisual map.
In the end, that is what this track became for me: a piece with its own identity, built to live next to a powerful image without getting in its way.