Track-by-Track: Empanadas Ilegales Uncover Their Record ‘Sancocho Trifásico’

If you have an appreciation for how musical instruments come together to create a beautiful sound and rhythm, then you’ve found something to appreciate with Empanadas Ilegales. The Vancouver psychedelic cumbia and salsa ensemble how conjured up a flavourful new rhythm with their latest album Sancocho Trifásico, released June 6th via We Are Time. The album is chock-full of infectious and irresistible grooves, harkening back to the sound of the band’s early days. It combines experimental synth textures, dub grooves, and propulsive percussion. It’s meant as a tribute to cumbia’s past and future, meant to inspire dance and celebration. The band’s songs are inspired by positivity and enthusiasm. Within these songs, preservation, folklore, and tradition are all held in high regard.

Empanadas Ilegales first formed in 2017. They initially caught attention thanks to their infectious rhythms and highly energetic performances. The band was formed from late-night jam sessions among friends. The roots of the band lie within Colombia, Ecuador, Argentina, and Canada. It wasn’t long before they evolved into one of the powerhouse performing groups of Latin American dance music.

Today, the band joins us for an exclusive Track-by-Track rundown of the new album, Sancocho Trifásico.

1. “Suto Ta Kandá” (de las 4 a las 12) (feat Druiz, Myles Bigelow, Jerlin Torres Salgado)

“‘Suto Ta Kandá’ marks a pivotal moment for Empanadas Ilegales, as it is the first track where vocals take center stage in our music. It also introduces our new musical collaborator, drummer and producer Daniel Ruiz, merging his solo project Druiz with contributions from Canadian multi-instrumentalist Myles Bigelow and Colombian Jerlin Torres Salgado from San Basilio de Palenque.

“At the heart of this song is Palenquero, a rare and historically significant Afro-Colombian language that traces its roots back to the first free African town in the Americas. This track may be one of the first-ever releases in Canada featuring Palenquero, making it a truly unique musical and cultural moment. √Suto Ta Kandá fuses traditional Colombian folk music with experimental sounds, bridging past and future while amplifying a language and legacy that deserve global recognition.”

2. “Mano Peluda”

“‘Mano Peluda’ was created with direct inspiration from the indigenous Colombian Gaita instrument, drawing fresh influences from groups like Gaiteros de an Jacinto, Toño Fernández, Los Gaiteros de San Pelayo, and Los Gaiteros de Ovejas. Their rich melodies guided the song’s direction, giving it an authentic feel rooted in tradition.

“To deepen the rhythm, we introduced layered percussion, including individual drum parts, congas, tamboras, and maracas, reflecting the rhythmic complexity of tropical Colombian music.

“The title, ‘Mano Peluda,’ meaning ‘Hairy Hand,’ refers to a popular children’s ghost story told along the tropical South American and Caribbean coasts. The tale warns that if children misbehave, the hairy hand will come to take them.

“To evoke the creepy, otherworldly nature of the story, we incorporated eerie synthesizers, guitars, trumpets, and effects, creating a sense of the beyond, a floating mystery, while still being firmly grounded in traditional folklore and dance rhythms.”

3. “Chicharra”

“‘Chicharra’ is a track originally written by Grupo la Droga, an obscure Colombian studio band from the 1970s, known for their unique and experimental sound. The song blends synthesizers, percussion, and guitars, creating an atmospheric and haunting vibe that stands out as a deep cut in the band’s catalogue.

“The futuristic, eerie sounds of Chicharra resonate strongly with Empanadas Ilegales’ own sonic vision, making it a perfect fit for the Sancocho Trifasico flavour. This track’s mysterious and otherworldly qualities align seamlessly with our sound, which is why we chose to bring it to life in our own way.”

4. “La Trifulca”

“‘La Trifulca’ (‘The Brawl’) is an original jam by Empanadas Ilegales that started with a catchy, cyclical bassline and organically evolved into a nearly five-minute progressive journey. Merging a diverse mix of cumbia, dub, reggaeton, chicha, and free jazz, the song weaves through melodic and atmospheric passages, creating a trance-like soundscape that is both hypnotic and unpredictable.

“Like its name suggests, ‘La Trifulca’ is a clash of styles; an energetic, genre-bending ride that refuses to be pinned down.”

Empanadas Ilegales ‘Sancocho Trifásico’ album artwork

5. “Cumbia Rajá”

“‘Cumbia Rajá’ is a hidden gem of Colombian cumbia, composed by the legendary saxophonist, clarinetist, and arranger Michi Sarmiento, a towering figure in Colombia’s tropical music scene. Hailing from Cartagena, Colombia, which also happens to be the hometown of our bassist, Daniel H, Michi played a crucial role in shaping the sound of Colombian salsa and cumbia.

“Beyond his own recordings, Michi was also the unsung hero behind some of Joe Arroyo’s greatest songs, transcribing and arranging the salsa legend’s vocalized ideas into full compositions. His deep understanding of rhythm, melody, and groove made him a key figure in the evolution of Colombian music.

“With his recent passing, we wanted to pay tribute to his legacy and his impact on the music we love. Michi Sarmiento was an understated yet masterful saxophonist, arranger, and composer who left an indelible mark on the tropical music world. This cover stays true to his original composition while naturally carrying the unmistakable energy and sound of Empanadas Ilegales.”

6. “Chancletazo”

“‘Chancletazo’ takes its name from the well-known Latin American slang term for a flip-flop slap—a playful yet fearsome disciplinary tool wielded by parents across generations. The song mirrors this with its hard-hitting, cyclical sections, evoking the inescapable force of a well-aimed chancletazo—a memory that haunts all of us from childhood.

“This track was written by our drummer, Daniel Ruiz, at the band’s request, capturing the rhythm, intensity, and humour of this cultural rite of passage. Driving the tune forward is a punching, pulsating percussion rhythm that sets the foundation, relentless and unshakable. The song culminates in a powerful trumpet solo that takes flight, soaring over a guitar melody that feels less like a traditional solo and more like another layer of percussion, hammering with intensity. An electrifying sonic slap—rhythmic, relentless, and impossible to escape.”

7. “Bailecito de MORD”

“‘Bailecito de MORD’ is our tribute to the legendary DROM Taberna, a space that has deeply inspired us. The vibrant musical scene and inclusive, collectivist spirit cultivated by Misha and the DROM community left a lasting impact, shaping this song’s energy. After playing unforgettable shows there, we felt compelled to dedicate a piece to this incredible place—its name a playful nod to DROM, spelled backward.

“The song was born in the aftermath of Creepy Mambo, shaped by our travels across South America. Its seed was planted when Jaime Millán, quarantined in a hotel on a paradise beach in the Dominican Republic, found himself unable to break free—a surreal experience in a post-pandemic reality. From this spark, the band collectively developed a hypnotic vallenato-style rhythm, layered with modulated guitars, a soul-shaking bass line, and multilayered percussion. As trumpet and saxophone weave through the arrangement, they echo the swirling energy of a night at DROM, where music, movement, and delirium blend into a feverish, euphoric escape.”

8. “Gher Bede (Sanguijuela)”

“‘Gher Bede’ was cultivated over many moons, first sparked by Swan Lake, Pyotr Ilyich Tchaikovsky’s masterpiece, before taking an unexpected journey into new musical landscapes. Inspired by both the melodies and percussion of The Silk and Sand Realms, where Persian and Egyptian traditions intertwine, the song bridges distant worlds through movement and rhythm.

“Originally composed by Jaime Millán, the piece evolved through the band’s collective input, taking on new life in the studio. The title, ‘Gher Bede,’ translates from Farsi to shake it, groove, or move your hips—an invitation to lose yourself in the rhythm. Paired with the parenthetical Sanguijuela (Bloodsucker), it paints a hypnotic and unforgiving picture of groove, where seduction and urgency collide. The result is a fusion of Latin tropical heat with the deep echoes of antiquity, where percussive fire meets the melodies of the East in an uncharted sonic voyage.”

9. “Alégrate Mijín”

“‘Alégrate Mijin’ was inspired by the legendary Ecuadorian synthesizer composer Polibio Mayorga, whose deep-cut melodies and unique sound have been a long-time influence on the band.

“Drawing from his incredible musical style, this track captures the essence of his melodies while introducing intricate rhythmic chops and unexpected journey-like sections.

“Built upon a classic cumbia rhythm, the song thrives on the interwoven layers of percussion, storytelling modulated guitars, and a soaring trumpet solo by Jocelyn Waugh that blend seamlessly with its evolving textures. The rhythmic foundation drives the track’s dynamic shifts, ensuring a seamless flow between its intricate layers and danceable momentum. The song wraps the dance in a darker, more experimental vibe, infused with the signature Empanadas Ilegales’ flip-flopping grooves, creating a sound that is both compelling and distinctly our own.”

10. “Matador”

“‘Matador’ is a salsa track born from our band’s jam sessions, shaped by the raw energy and spontaneity of live improvisation. Inspired by the hidden gems of the tropical music circuit, we set out to create a salsa piece that pays tribute to these unsung pioneers.

“Marked by distinctive breaks and rhythmically psychedelic guitar work, the song unfolds into tangential sections, pulling listeners into a danceable yet mysterious and abrasive journey—one that twists and turns, much like the unknown legends that inspired it. At the heart of this journey lies the melodic magic of the free-flowing saxophone of Tobias (El Maestro) Soley, whose bold phrasing adds a raw and unpredictable energy to the track.”

Tour Dates:

06/06 – Vancouver, BC – Hollywood Theatre (Record Release Show)
06/21 – Vancouver, BC – Vancouver Jazz Festival
07/02 – Montreal, QC – Montreal Jazz Fest
07/25 – Calgary, AB – Calgary Folk Festival
07/26 – Salmon Arm, BC – Salmon Arm Roots & Blues Festival
07/27 – Mission, BC – Mission Folk Festival
08/02 – 08/04 – Canmore, AB – Canmore Folk Festival