“I’ve been spending all this time just learning how to breathe/Wind upon my face now won’t stop til I do for me” - Until the Sun Go
So goes the anthemic chorus to a song that pretty much sums up the journey of the band behind it - Until the Sun Go
by Sioux City.
A project that puts together Colombian/Uruguayan vocal powerhouse Caterina Torres with esteemed producer James Ash, Sioux City is a new band with established roots - Ash with his background as producer for the warped dance music act Jealous Much?, and Torres with her years of professional singing that has taken her around the world.
The pair crossed paths by a chance encounter at their record label, which saw Torres lend her vocals to Jealous Much? and they knew this was a collaboration worth exploring in more detail.
The lead single is a tantalising taste of what’s to come on the album due later this year - a bona fide international flavour that reflects both Torres’ Latin American pop roots (she was reared on Gloria Estefan and Julio Iglesias) and Ash’s love of exotic electronic styles, from moombahton to dancehall and everything in between.
“A few of the album tracks are in Spanglish,” says Ash. “At first we were like, should we do that, should we embrace that? But Caterina’s from a South American background, living in Australia, and I’m an English guy living in Australia and that gave us the confidence to be international.”
On Until the Sun Go,
deceptively quintessential pop verse leads into a trappy chorus that explodes like a burst of the titular sun as Torres skits effortlessly between melodic spoken word and full-throated singing, showcasing the depth and range of her voice.
Like the rest of the album, it’s upbeat, bouncy music designed to make you move. “We had a good time making it; we want people to have a good time listening to it as well,” says Torres.
The name Sioux City was decided by fate. After Ash and Torres had finally finished the album, Torres was doing a road trip in the U.S when Ash called and they started talking about a name for themselves. She looked up and suggested the first city she saw on a road sign, it’s a place neither of them have visited, yet, like the band, is somewhat “indefinably international.”
“It fits with that idea of being unspecific and not belonging to a particular place,” says Ash.
Sioux City is music without borders and refreshingly, without rules. “Pop has a formula, you can also subvert it,” says Ash, who’s spent years doing just that. “We wanted to create something that’s new and familiar at the same time.” The result is fun, fresh, proudly multicultural pop, made by and for those who like to dance to the beat of a different drum.