The COVID House That Birthed a Gigantic Hit Song

Buenos Aires, Argentina. COVID is peaking, there’s a strict quarantine and eight young, famous musicians decide to move into a mansion with a swimming pool. In noisey’s recent documentary Los del Espacio, Argentinian producer Big One laughs: it was a “disaster”.

Mind you, the site of endless after-parties, clogged toilets and a broken door that no one ever fixed ended up becoming one of the most popular – and profitable – enterprises in urban music in Latin America.


The numbers speak for themselves. “Los del Espacio”, a collaborative song by Lit Killah, Duki, Emilia, Tiago PZK, FMK, Rusherking, María Becerra and producer Big One, has more than 96 million plays, while each artist’s individual plays extend beyond 300 million.

So how did they rise to such great heights? I spoke to Lit Killah about the house and his outlook on the future.


Lit Killah.

VICE: How did the documentary come about?
Lit Killah: The idea for the documentary was mainly that we wanted to capture as many moments in the house as possible, like a behind-the-scenes. And then we said, “Well, it looks like we’re making a documentary.” We thought it was a historic situation. And then we looked for someone to do it, and obviously VICE was the best for the job, so we shared the idea.

How did the song come together?
Well, the eight of us lived together for a year. After the pandemic ended, everyone went to work on their own, and we no longer saw each other with the same frequency. But even so, we all said: “We’re getting together to eat, we’re getting together to play PlayStation, it seems like we’re doing everything but making music. Why don’t we make music and please people?” And then we agreed. We set a date and we went into the studio and the song came out.

What did you learn from this period?
The lesson was: never do a song with eight people again [laughs].


No, the real lesson was that every effort has its reward, it seems to me, because it is so difficult to bring together eight artists of this magnitude, thinking that we are all super, mega positioned artists, and our time is basically limited. We all said at the same time, “Well, the only way for this to happen is for all of us to put our egos aside and not include the managers,” and we give the management the orders, so to speak, but we decide everything ourselves so there are no misunderstandings.

When you had difficult moments, which I imagine happened, how did you manage to resolve them?
Well, what I’m really grateful for is that this song came upon us all at a stage in which we were all positioned already and were a little more mature in terms of our artistic level, so we all know more or less when to give in in this type of thing. Each person has their own position. So if someone says “No, I think that’s how it should be,” you look to what the other seven have to say. It became a matter of voting in the end.

Are you all still friends? Do you continue to collaborate?
Yes, we still do. It was all born from friendship. We continue to collaborate fully. Soon, I’m going to release a song with Tiago, another with Duki. I already have a ton of things prepared, and they do too. We also made another song from the house. We’re going to continue collaborating because we’re all friends and all artists, and those collaborations will never end.


What do you learn from the other seven?
The era at the house was a time of musical nutrition for everyone; we learned from everyone. We all had a huge change. I mean, no one was the same before that house, literally, in terms of sound, in terms of the people we are now. In other words, it was a contribution and an instantaneous evolution for practically everything.

Whenever we were at the house or at the studio, someone would say, “Hey, look, what do you think of this song?” “I think this, or that.” And then you would correct it at the studio. Or someone showed a song and someone else would say: “I want to participate in that song,” and someone else would agree, and just like that, you would have a feat with three people, four people, and so on. It was also healthy competition. For example, Tiago would come up with a mega hit and I would say, “Uhhh, mighty song, I can’t stay behind that,” you understand, so I would go to the studio motivated and would say, “I have to do a better song.”

Is there anything you miss from that period?
Yes, obviously, many things, but at the same time I feel that it lasted what it had to last. I mean, we enjoyed it a ton because it was during quarantine and nobody had shows, nobody had anything, so we enjoyed it fully and we made good use of those ugly quarantine times when no one could go out. And when the quarantine was over, everyone did their job, and even so, we all keep in touch. So in that sense, I think we did well in terms of time.

What’s next for you?
I’m working on an album for next year. This whole year was a year of soul searching and frustration. I haven’t been releasing a lot of my own music on my channel because I was in that search, but I think I already have it. Now, next year, I’ll come out with a more evolved album.

I haven’t been much of a reggaeton fan, but this year I tried to reach a more reggaeton sound, but not a generic one, like trying to find my own sound within that. It took me a lot and I didn’t feel that it was something that I liked 100 percent, and that’s when I started to make this new sound, and now I’m much more confident with these new songs.


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