⭐🎉 𝐇𝐀𝐏𝐏𝐘 𝐁𝐈𝐑𝐓𝐇𝐃𝐀𝐘 𝐌𝐈𝐆𝐔𝐄𝐋! 💖🎁

🎉🎂🥂 Today we celebrate with joy the 𝐛𝐢𝐫𝐭𝐡𝐝𝐚𝐲 of ⭐𝑴𝒊𝒈𝒖𝒆𝒍 𝑳𝒐́𝒑𝒆𝒛 𝑴𝒐𝒓𝒂 / 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏⭐ who together with 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 gives life to the electronic musical projects 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 and 𝑴𝒂𝒅𝒆 𝑭𝒐𝒓 𝑯𝒖𝒎𝒂𝒏𝒔.

Photo Credits: Javier Alonso & Marina Sanz, Patrick Slesiona // Edit by Rita

✨ 𝘞𝘦 𝘸𝘪𝘴𝘩 𝘵𝘩𝘢𝘵 𝘺𝘰𝘶𝘳 𝘴𝘱𝘦𝘤𝘪𝘢𝘭 𝘥𝘢𝘺 𝘪𝘴 𝘵𝘩𝘦 𝘣𝘦𝘨𝘪𝘯𝘯𝘪𝘯𝘨 𝘰𝘧 𝘢𝘯𝘰𝘵𝘩𝘦𝘳 𝘢𝘮𝘢𝘻𝘪𝘯𝘨 𝘺𝘦𝘢𝘳, 𝘵𝘩𝘢𝘵 𝘪𝘵 𝘣𝘳𝘪𝘯𝘨𝘴 𝘺𝘰𝘶 𝘵𝘩𝘰𝘶𝘴𝘢𝘯𝘥𝘴 𝘰𝘧 𝘴𝘮𝘪𝘭𝘦𝘴, 𝘭𝘰𝘵𝘴 𝘰𝘧 𝘩𝘦𝘢𝘭𝘵𝘩 𝘢𝘯𝘥 𝘮𝘰𝘮𝘦𝘯𝘵𝘴 𝘵𝘩𝘢𝘵 𝘧𝘪𝘭𝘭 𝘺𝘰𝘶𝘳 𝘩𝘦𝘢𝘳𝘵 𝘸𝘪𝘵𝘩 𝘣𝘭𝘪𝘴𝘴.

⭐🥳🎉 𝐇𝐀𝐏𝐏𝐘 𝐁𝐈𝐑𝐓𝐇𝐃𝐀𝐘 𝐌𝐈𝐆𝐔𝐄𝐋! 💖🎁🎈✨
from Rita and the whole Placebo Anyway team.💜

📍𝑴𝒊𝒈𝒖𝒆𝒍 𝑳𝒐́𝒑𝒆𝒛 𝑴𝒐𝒓𝒂, born in 𝑴𝒂𝒍𝒂𝒈𝒂, 𝑺𝒑𝒂𝒊𝒏 on February 10, 1973, he is considered a pioneer in the Spanish electronic music scene since his career began in 1988 combining machines with instruments and video art, making his

formal debut in 1990. 𝑴𝒊𝒈𝒖𝒆𝒍 has been a self-taught and multi-instrumentalist artist, he plays 𝒔𝒊𝒕𝒂𝒓, 𝒕𝒉𝒆𝒓𝒆𝒎𝒊𝒏, 𝒈𝒖𝒊𝒕𝒂𝒓𝒔, 𝒂𝒏𝒂𝒍𝒐𝒈 𝒔𝒚𝒏𝒕𝒉𝒆𝒔𝒊𝒛𝒆𝒓𝒔, 𝒖𝒌𝒖𝒍𝒆𝒍𝒆, 𝒃𝒂𝒔𝒔, 𝒅𝒓𝒖𝒎𝒔, etc.

Besides to be a great 𝑫𝑱, he is remarkable for his talent as a 𝒄𝒐𝒎𝒑𝒐𝒔𝒆𝒓, 𝒔𝒊𝒏𝒈𝒆𝒓, 𝒂𝒓𝒓𝒂𝒏𝒈𝒆𝒓, 𝒑𝒓𝒐𝒅𝒖𝒄𝒆𝒓, 𝒑𝒓𝒐𝒈𝒓𝒂𝒎𝒎𝒆𝒓 and 𝒅𝒆𝒔𝒊𝒈𝒏𝒆𝒓. He has directed his own video clips and also has created video art for his live performances, which makes his shows an amazing, unique and powerful experience.

𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 has performed from small venues to the biggest festivals in countries like 𝑺𝒑𝒂𝒊𝒏, 𝑮𝒆𝒓𝒎𝒂𝒏𝒚, 𝑹𝒖𝒔𝒔𝒊𝒂, 𝑩𝒆𝒍𝒈𝒊𝒖𝒎, 𝑯𝒐𝒍𝒍𝒂𝒏𝒅, 𝑴𝒐𝒓𝒐𝒄𝒄𝒐, 𝑯𝒖𝒏𝒈𝒂𝒓𝒚, 𝑴𝒆𝒙𝒊𝒄𝒐, 𝑼.𝑺.𝑨., 𝑼.𝑲., 𝑪𝒉𝒊𝒏𝒂, etc. He has collaborated with artists such as 𝑫𝒂𝒗𝒆 𝑻𝒂𝒓𝒓𝒊𝒅𝒂 and 𝑴𝒊𝒌𝒊 𝑪𝒓𝒂𝒗𝒆𝒏 (from the mythical 𝑻𝒓𝒆𝒔𝒐𝒓 label in 𝑩𝒆𝒓𝒍𝒊𝒏), 𝑩𝒊𝒈 𝑻𝒐𝒙𝒊𝒄, 𝑺𝒊𝒍𝒗𝒊𝒂 𝑺𝒖𝒑𝒆𝒓𝒔𝒕𝒂𝒓 or 𝑺𝒑𝒂𝒎, 𝑯𝒐𝒕𝒆𝒍 𝑷𝒆𝒓𝒔𝒐𝒏𝒂, 𝑨𝒏𝒂 𝑪𝒖𝒓𝒓𝒂 (from the Spanish band 𝑷𝒂𝒓𝒂́𝒍𝒊𝒔𝒊𝒔 𝑷𝒆𝒓𝒎𝒂𝒏𝒆𝒏𝒕𝒆).

Photo credit unknown

𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 also has remixed several artists, among them is the remix he did in 2009 of "𝑴𝒐𝒅𝒆𝒓𝒏 𝑲𝒊𝒅𝒔", the song from 𝑯𝒐𝒕𝒆𝒍 𝑷𝒆𝒓𝒔𝒐𝒏𝒂 featuring 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐. This remix was included in 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏's LP "𝑶𝒖𝒕𝒔𝒊𝒅𝒆𝒓" which was nominated as "𝑩𝒆𝒔𝒕 𝑽𝒂𝒏𝒈𝒖𝒂𝒓𝒅 𝑴𝒖𝒔𝒊𝒄 𝑨𝒍𝒃𝒖𝒎 𝟐𝟎𝟏𝟎" at the 𝑺𝒑𝒂𝒏𝒊𝒔𝒉 𝑰𝒏𝒅𝒆𝒑𝒆𝒏𝒅𝒆𝒏𝒕 𝑴𝒖𝒔𝒊𝒄 𝑨𝒘𝒂𝒓𝒅𝒔 (𝑴𝑰𝑵). And last year along with 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 remixed the 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 song "𝑻𝒉𝒊𝒔 𝑰𝒔 𝑾𝒉𝒂𝒕 𝒀𝒐𝒖 𝑾𝒂𝒏𝒕𝒆𝒅", the remix was available in the deluxe digital version of the album "𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐".

🔊 𝐇𝐨𝐭𝐞𝐥 𝐏𝐞𝐫𝐬𝐨𝐧𝐚 "𝐌𝐨𝐝𝐞𝐫𝐧 𝐊𝐢𝐝𝐬" - 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏 𝐑𝐞𝐦𝐢𝐱 🎶
https://bit.ly/3JYBDjU

🔊 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 "𝐓𝐡𝐢𝐬 𝐈𝐬 𝐖𝐡𝐚𝐭 𝐘𝐨𝐮 𝐖𝐚𝐧𝐭𝐞𝐝" - 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏 + 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥 𝐑𝐞𝐦𝐢𝐱 🎶
https://bit.ly/40C995k


🌠 𝑴𝒊𝒈𝒖𝒆𝒍 and 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 started working together in 2012, naming this hybrid project of electronic music and string quartet simply 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍.

In 2017 they released their debut album titled "𝑰𝒏𝒔𝒊𝒅𝒆", followed by "𝑪𝒐𝒎𝒑𝒍𝒆𝒙" in 2022. Due to the long confinement we all lived through during the pandemic, 𝑴𝒊𝒈𝒖𝒆𝒍 and 𝑺𝒕𝒆𝒇𝒂𝒏 continued to unleash their creativity and kept composing music, thus their second project 𝑴𝒂𝒅𝒆 𝑭𝒐𝒓 𝑯𝒖𝒎𝒂𝒏𝒔 was born from whose music is of a more instrumental, reflective and atmospheric nature, releasing the debut album of this project in 2020.

Photo credit unknown

🎙️"Phew! What it is to know each other, we easily met fourteen years ago. Through mutual friends in Madrid at an exhibition, but I don't know the exact year. Well, not fourteen... more! It would be 2002 or 2003. And the group started in 2012. It came naturally: we talked a lot, we did a lot of things, we remixed each other... And in the end we had this idea, it was nice to do it and we did it.
▪️𝙳𝚒𝚐𝚒𝚝𝚊𝚕 𝟸𝟷, 𝙼𝚘𝚗𝚍𝚘𝚂𝚘𝚗𝚘𝚛𝚘, 𝟷𝟻.𝟷𝟸.𝟸𝟶𝟸𝟷.

🔊 𝐓𝐨𝐠𝐞𝐭𝐡𝐞𝐫 - 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏 + 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥 (𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐕𝐢𝐝𝐞𝐨) 🎶
https://bit.ly/3RLoQDp

🔊 𝐌𝐚𝐝𝐞 𝐅𝐨𝐫 𝐇𝐮𝐦𝐚𝐧𝐬 (𝐀𝐥𝐛𝐮𝐦) 🎶
https://spoti.fi/3Ymulef

⭐ On January 11, through his 𝐅𝐚𝐜𝐞𝐛𝐨𝐨𝐤 account 𝑴𝒊𝒈𝒖𝒆𝒍 shared how he has been doing, what he has been working on and his musical plans for this year:

💠 𝘐𝘯 2022 𝘸𝘦'𝘷𝘦 𝘳𝘦𝘤𝘰𝘳𝘥𝘦𝘥 𝘵𝘩𝘦 𝘴𝘦𝘤𝘰𝘯𝘥 𝘔𝘢𝘥𝘦 𝘍𝘰𝘳 𝘏𝘶𝘮𝘢𝘯𝘴 𝘢𝘭𝘣𝘶𝘮 (𝘸𝘦 𝘥𝘰𝘯'𝘵 𝘬𝘯𝘰𝘸 𝘸𝘩𝘦𝘯 𝘪𝘵 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘳𝘦𝘭𝘦𝘢𝘴𝘦𝘥, 𝘰𝘣𝘷𝘪𝘰𝘶𝘴𝘭𝘺, 𝘣𝘶𝘵 𝘪𝘵'𝘴 𝘢𝘭𝘮𝘰𝘴𝘵 𝘧𝘪𝘯𝘪𝘴𝘩𝘦𝘥)...
💠 𝘈𝘯𝘥, 𝘢𝘭𝘴𝘰 𝘸𝘪𝘵𝘩 𝘚𝘵𝘦𝘧𝘢𝘯, 𝘸𝘦 𝘩𝘢𝘷𝘦 𝘴𝘵𝘢𝘳𝘵𝘦𝘥 𝘵𝘰 𝘳𝘦𝘤𝘰𝘳𝘥 𝘯𝘦𝘸 𝘴𝘰𝘯𝘨𝘴, 𝘸𝘩𝘪𝘤𝘩 𝘢𝘳𝘦 𝘢𝘭𝘳𝘦𝘢𝘥𝘺 𝘤𝘰𝘮𝘱𝘰𝘴𝘦𝘥, 𝘧𝘰𝘳 𝘢𝘯𝘰𝘵𝘩𝘦𝘳 𝘣𝘢𝘯𝘥 𝘸𝘪𝘵𝘩 𝘢 𝘴𝘪𝘯𝘨𝘦𝘳 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘸𝘪𝘭𝘭 𝘳𝘦𝘷𝘦𝘢𝘭 𝘪𝘯 𝘥𝘶𝘦 𝘵𝘪𝘮𝘦... (𝘞𝘦 𝘢𝘳𝘦 𝘭𝘰𝘰𝘬𝘪𝘯𝘨 𝘧𝘰𝘳𝘸𝘢𝘳𝘥 𝘵𝘰 𝘧𝘪𝘯𝘪𝘴𝘩𝘪𝘯𝘨 𝘵𝘩𝘦𝘮 𝘢𝘯𝘥 𝘴𝘵𝘢𝘳𝘵 𝘵𝘩𝘪𝘴 𝘯𝘦𝘸 𝘱𝘢𝘵𝘩 𝘢𝘴 𝘸𝘦𝘭𝘭…)
💠 𝘈𝘯𝘥 𝘰𝘣𝘷𝘪𝘰𝘶𝘴𝘭𝘺 𝘸𝘦 𝘢𝘭𝘳𝘦𝘢𝘥𝘺 𝘩𝘢𝘷𝘦 𝘴𝘰𝘮𝘦 𝘴𝘰𝘯𝘨𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘵𝘩𝘪𝘳𝘥 𝘢𝘭𝘣𝘶𝘮 𝘰𝘧 𝘋𝘪𝘨𝘪𝘵𝘢𝘭 21 + 𝘚𝘵𝘦𝘧𝘢𝘯 𝘖𝘭𝘴𝘥𝘢𝘭.
𝘚𝘰 𝘐 𝘩𝘰𝘱𝘦 𝘵𝘩𝘢𝘵 𝘪𝘯 𝘵𝘩𝘪𝘴 2023 𝘸𝘦 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘢𝘣𝘭𝘦 𝘵𝘰 𝘴𝘩𝘢𝘳𝘦 𝘴𝘰𝘯𝘨𝘴 𝘧𝘳𝘰𝘮 𝘰𝘶𝘳 𝘵𝘩𝘳𝘦𝘦 𝘣𝘢𝘯𝘥𝘴.

🔹𝑶𝒓𝒊𝒈𝒊𝒏𝒂𝒍 𝒑𝒐𝒔𝒕: https://bit.ly/3XsQfLG

✨ We wish him all the best and hope to hear from him soon. 🙏💗💞🌟✨

Photo credit unknown

🌟 𝐅𝐨𝐥𝐥𝐨𝐰 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏 🌟
🔹𝐅𝐁: https://bit.ly/3XiXJk7
🔹𝐓𝐖: https://bit.ly/3RKz0El
🔹𝐈𝐆: https://bit.ly/3xckT1a
🖱️𝐖𝐄𝐁: www.digital21andstefanolsdal.com

Post by Rita

💫⭐ DIGITAL 21: "𝙒𝙚 𝙬𝙖𝙣𝙩 𝙩𝙤 𝙘𝙧𝙚𝙖𝙩𝙚 𝙖 𝙬𝙤𝙧𝙡𝙙 𝙩𝙝𝙖𝙩 𝙛𝙚𝙚𝙡𝙨 𝙡𝙞𝙠𝙚 𝙤𝙪𝙧𝙨" ⭐💫

🌠 𝘏𝘦𝘭𝘭𝘰 𝘥𝘦𝘢𝘳 𝘴𝘰𝘶𝘭𝘮𝘢𝘵𝘦𝘴!

Today I bring you the translation of the interview with 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 that the Spanish independent music magazine 𝑴𝒐𝒏𝒅𝒐𝑺𝒐𝒏𝒐𝒓𝒐 published a few days ago, where they talked about their new album "𝑪𝒐𝒎𝒑𝒍𝒆𝒙" as well as many details of their joint projects and if they will collaborate with 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 on a song one day. 👀 Enjoy reading. 😉

Photo credit: Javier Alonso & Marina Sanz

💫⭐ "𝙒𝙚 𝙬𝙖𝙣𝙩 𝙩𝙤 𝙘𝙧𝙚𝙖𝙩𝙚 𝙖 𝙬𝙤𝙧𝙡𝙙 𝙩𝙝𝙖𝙩 𝙛𝙚𝙚𝙡𝙨 𝙡𝙞𝙠𝙚 𝙤𝙪𝙧𝙨" ⭐💫

𝘈𝘧𝘵𝘦𝘳 𝘣𝘦𝘪𝘯𝘨 𝘧𝘰𝘳𝘤𝘦𝘥 𝘵𝘰 𝘥𝘦𝘭𝘢𝘺 𝘪𝘵𝘴 𝘳𝘦𝘭𝘦𝘢𝘴𝘦 𝘴𝘦𝘷𝘦𝘳𝘢𝘭 𝘵𝘪𝘮𝘦𝘴, 𝘋𝘪𝘨𝘪𝘵𝘢𝘭 21 & 𝘚𝘵𝘦𝘧𝘢𝘯 𝘖𝘭𝘴𝘥𝘢𝘭 𝘩𝘢𝘷𝘦 𝘧𝘪𝘯𝘢𝘭𝘭𝘺 𝘳𝘦𝘭𝘦𝘢𝘴𝘦𝘥 '𝘊𝘰𝘮𝘱𝘭𝘦𝘹' (𝘈𝘞𝘈𝘓, 21), 𝘵𝘩𝘦 𝘴𝘦𝘤𝘰𝘯𝘥 𝘢𝘭𝘣𝘶𝘮 𝘰𝘧 𝘵𝘩𝘦𝘪𝘳 𝘫𝘰𝘪𝘯𝘵 𝘱𝘳𝘰𝘫𝘦𝘤𝘵. 𝘞𝘦 𝘤𝘰𝘯𝘵𝘢𝘤𝘵𝘦𝘥 𝘣𝘰𝘵𝘩 𝘰𝘧 𝘵𝘩𝘦𝘮 𝘷𝘪𝘢 𝘻𝘰𝘰𝘮, 𝘵𝘰 𝘴𝘦𝘵 𝘶𝘱 𝘢 𝘵𝘩𝘳𝘦𝘦-𝘸𝘢𝘺 𝘪𝘯𝘵𝘦𝘳𝘷𝘪𝘦𝘸 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘮𝘶𝘴𝘪𝘤𝘪𝘢𝘯𝘴 𝘢𝘯𝘴𝘸𝘦𝘳 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦𝘪𝘳 𝘳𝘦𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦 𝘴𝘵𝘶𝘥𝘪𝘰𝘴 𝘪𝘯 𝘔𝘢𝘥𝘳𝘪𝘥 𝘢𝘯𝘥 𝘓𝘰𝘯𝘥𝘰𝘯.


🎙️𝐈 𝐰𝐨𝐮𝐥𝐝 𝐥𝐢𝐤𝐞 𝐭𝐨 𝐬𝐭𝐚𝐫𝐭 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐯𝐢𝐞𝐰 𝐛𝐲 𝐥𝐨𝐨𝐤𝐢𝐧𝐠 𝐛𝐚𝐜𝐤 𝐭𝐨 𝐭𝐡𝐞 𝐛𝐞𝐠𝐢𝐧𝐧𝐢𝐧𝐠𝐬 𝐨𝐟 𝐚𝐥𝐥 𝐭𝐡𝐢𝐬. 𝐀𝐭 𝐰𝐡𝐚𝐭 𝐩𝐨𝐢𝐧𝐭 𝐝𝐢𝐝 𝐲𝐨𝐮 𝐦𝐞𝐞𝐭 𝐚𝐧𝐝 𝐡𝐨𝐰 𝐝𝐢𝐝 𝐭𝐡𝐢𝐬 𝐩𝐫𝐨𝐣𝐞𝐜𝐭 𝐜𝐨𝐦𝐞 𝐚𝐛𝐨𝐮𝐭 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐭𝐡𝐞 𝐭𝐰𝐨 𝐨𝐟 𝐲𝐨𝐮?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: Phew! What it is to know each other, we easily met fourteen years ago. Through mutual friends in Madrid at an exhibition, but I don't know the exact year. Well, not fourteen... more! It would be 2002 or 2003. And the group started in 2012. It came naturally: we talked a lot, we did a lot of things, we remixed each other... And in the end we had this idea, it was nice to do it and we did it.


🎙️𝐖𝐡𝐚𝐭 𝐢𝐬 𝐲𝐨𝐮𝐫 𝐮𝐬𝐮𝐚𝐥 𝐰𝐚𝐲 𝐨𝐟 𝐰𝐨𝐫𝐤𝐢𝐧𝐠 𝐧𝐨𝐰𝐚𝐝𝐚𝐲𝐬?
🔹𝐒𝐭𝐞𝐟𝐚𝐧: We are in two different places in the world, so the band works a bit like that. Miguel is in Madrid and I'm in London. And with technology now you can get a lot of work done. We almost only get together for the gigs.


🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: We also work a lot with chats like this one. We do Skype, we are a little further back, we are older (laughs). Fortunately we both have our studios. In fact, now I'm talking from mine and he's talking from his. That makes everything much easier. But it must be said that in both albums we have had stages of working together, both in my studio and in his. Whenever strings have been recorded, for example, I've gone to London and we've gone to RAK studios to record them. We have been in his studio recording a lot of things. Then when we do concerts he comes to my studio and we do rehearsals with the string players and so on. Because age also asks us for a more old-fashioned kind of work.
🔹𝐒𝐭𝐞𝐟𝐚𝐧: Especially for recording the strings, as Miguel says, which is quite an important aspect on both albums.


🎙️𝐈 𝐰𝐨𝐮𝐥𝐝 𝐬𝐚𝐲 𝐭𝐡𝐚𝐭 '𝐂𝐨𝐦𝐩𝐥𝐞𝐱' (𝐀𝐖𝐀𝐋, 𝟐𝟏) 𝐢𝐬 𝐚 𝐚𝐩𝐩𝐫𝐞𝐜𝐢𝐚𝐛𝐥𝐲 𝐦𝐨𝐫𝐞 𝐚𝐦𝐛𝐢𝐭𝐢𝐨𝐮𝐬 𝐚𝐥𝐛𝐮𝐦, 𝐰𝐢𝐭𝐡 𝐚 𝐥𝐨𝐧𝐠𝐞𝐫 𝐣𝐨𝐮𝐫𝐧𝐞𝐲 𝐚𝐧𝐝 𝐚𝐥𝐬𝐨 𝐦𝐨𝐫𝐞 𝐬𝐨𝐥𝐢𝐝 𝐭𝐡𝐚𝐧 '𝐈𝐧𝐬𝐢𝐝𝐞' (𝐊𝐨𝐛𝐚𝐥𝐭, 𝟏𝟕) 𝐖𝐨𝐮𝐥𝐝 𝐲𝐨𝐮 𝐚𝐠𝐫𝐞𝐞? 𝐖𝐡𝐚𝐭 𝐰𝐨𝐮𝐥𝐝 𝐲𝐨𝐮 𝐬𝐚𝐲 𝐚𝐫𝐞 𝐭𝐡𝐞 𝐦𝐚𝐢𝐧 𝐝𝐢𝐟𝐟𝐞𝐫𝐞𝐧𝐜𝐞𝐬 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 '𝐂𝐨𝐦𝐩𝐥𝐞𝐱' 𝐚𝐧𝐝 '𝐈𝐧𝐬𝐢𝐝𝐞'?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: Well, more solid I think so: individually the songs have more things in common, but in the overall computation of the album 'Complex' is more powerful, more solid, more forceful. Above all, adding up all the assets. But looking at it more individually I see many links between the songs. Perhaps it's more solid because it's made after many concerts, and it already has that live energy in all the songs.

Photo credit: Javier Alonso & Marina Sanz

🎙️𝐂𝐨𝐦𝐩𝐥𝐞𝐱' 𝐢𝐬 𝐚𝐧 𝐚𝐥𝐛𝐮𝐦 𝐰𝐢𝐭𝐡 𝐬𝐭𝐫𝐢𝐧𝐠𝐬 𝐚𝐧𝐝 𝐠𝐞𝐧𝐞𝐫𝐨𝐮𝐬 𝐨𝐫𝐜𝐡𝐞𝐬𝐭𝐫𝐚𝐭𝐢𝐨𝐧 𝐥𝐞𝐧𝐝𝐢𝐧𝐠 𝐞𝐥𝐞𝐠𝐚𝐧𝐜𝐞 𝐭𝐨 𝐭𝐡𝐞 𝐜𝐨𝐦𝐩𝐨𝐬𝐢𝐭𝐢𝐨𝐧𝐬. 𝐇𝐨𝐰 𝐝𝐨 𝐚𝐥𝐥 𝐭𝐡𝐞𝐬𝐞 𝐚𝐫𝐫𝐚𝐧𝐠𝐞𝐦𝐞𝐧𝐭𝐬 𝐚𝐧𝐝 𝐜𝐨𝐧𝐭𝐫𝐢𝐛𝐮𝐭𝐢𝐨𝐧𝐬 𝐟𝐢𝐭 𝐢𝐧𝐭𝐨 𝐭𝐡𝐞 𝐬𝐨𝐧𝐠𝐬 𝐭𝐡𝐞𝐦𝐬𝐞𝐥𝐯𝐞𝐬?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: It happens in many different ways, depending on the song. There are songs where we started with the string arrangement and ended up in the music; And others where it's just the opposite. There are also arrangements that had to be recorded at RAK, with a lot of strings, and others that could be done at Stefan's studio, where he has his contacts. Sometimes we have recorded strings in the same studio where Stefan is right now.


🎙️𝐈𝐬 𝐭𝐡𝐚𝐭 𝐩𝐫𝐨𝐜𝐞𝐬𝐬 𝐜𝐨𝐦𝐩𝐥𝐢𝐜𝐚𝐭𝐞𝐝?
🔹𝐒𝐭𝐞𝐟𝐚𝐧: No, I don't think so. The process leads to inspiration. Music is like our gasoline. The process gives you opportunities and it's the one that leads you along the way. Sometimes the path starts as an instrumental track, but ends up as a vocal or string track. You have to leave everything open in order to have more possibilities. That's what being a musician is all about (laughs).


🎙️𝐈𝐧 𝐦𝐲 𝐨𝐩𝐢𝐧𝐢𝐨𝐧, 𝐭𝐡𝐞 𝐚𝐥𝐛𝐮𝐦 𝐡𝐚𝐬 𝐚 𝐜𝐞𝐫𝐭𝐚𝐢𝐧 𝐜𝐢𝐧𝐞𝐦𝐚𝐭𝐢𝐜 𝐚𝐬𝐩𝐞𝐜𝐭 - 𝐬𝐨𝐦𝐞𝐰𝐡𝐞𝐫𝐞 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐟𝐮𝐭𝐮𝐫𝐢𝐬𝐭𝐢𝐜, 𝐬𝐜𝐢𝐞𝐧𝐜𝐞 𝐟𝐢𝐜𝐭𝐢𝐨𝐧 𝐚𝐧𝐝 𝐝𝐲𝐬𝐭𝐨𝐩𝐢𝐚 - 𝐈𝐬 𝐬𝐜𝐢𝐞𝐧𝐜𝐞 𝐟𝐢𝐜𝐭𝐢𝐨𝐧 𝐚𝐧 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭 𝐢𝐧𝐟𝐥𝐮𝐞𝐧𝐜𝐞 𝐟𝐨𝐫 𝐲𝐨𝐮 𝐰𝐡𝐞𝐧 𝐢𝐭 𝐜𝐨𝐦𝐞𝐬 𝐭𝐨 𝐜𝐨𝐦𝐩𝐨𝐬𝐢𝐧𝐠? 𝐖𝐡𝐚𝐭 𝐢𝐧𝐬𝐩𝐢𝐫𝐞𝐬 𝐲𝐨𝐮?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: That's a difficult question, because every song has a different motivation. For example, on "The Fire" Stefan and I were in his studio doing a lot of work on all the arrangements before recording the strings with the musicians at RAK. That song absorbed a lot of energy from both of us, when we were working on it, composing and producing that song. It seemed to both of us that it was too dark.

But then Katrina Mogensen appeared and we were surprised ourselves because, after she sang it, the vision of the song was very different. So each song has a little bit of its own story. I don't know if it's as much science fiction as present continuous, which I say.


🎧 𝑻𝒉𝒆 𝑭𝒊𝒓𝒆 - 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 𝒇𝒆𝒂𝒕. 𝑲𝒂𝒕𝒓𝒊𝒏𝒂 𝑴𝒐𝒈𝒆𝒏𝒔𝒆𝒏 🎶
https://youtu.be/TtjxhNBy7m0


🎙️𝐎𝐧𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐭𝐡𝐢𝐧𝐠𝐬 𝐈 𝐥𝐢𝐤𝐞 𝐭𝐡𝐞 𝐦𝐨𝐬𝐭 𝐚𝐛𝐨𝐮𝐭 '𝐂𝐨𝐦𝐩𝐥𝐞𝐱' 𝐢𝐬 𝐭𝐡𝐚𝐭, 𝐮𝐧𝐝𝐞𝐫 𝐭𝐡𝐞 𝐜𝐨𝐦𝐦𝐨𝐧 𝐞𝐥𝐞𝐜𝐭𝐫𝐨𝐧𝐢𝐜 𝐮𝐦𝐛𝐫𝐞𝐥𝐥𝐚, 𝐢𝐭 𝐢𝐬 𝐚 𝐦𝐮𝐥𝐭𝐢𝐟𝐚𝐜𝐞𝐭𝐞𝐝 𝐰𝐨𝐫𝐤 𝐭𝐡𝐚𝐭 𝐚𝐜𝐜𝐞𝐥𝐞𝐫𝐚𝐭𝐞𝐬 𝐚𝐧𝐝 𝐝𝐞𝐜𝐞𝐥𝐞𝐫𝐚𝐭𝐞𝐬 𝐭𝐡𝐞 𝐫𝐡𝐲𝐭𝐡𝐦 𝐰𝐢𝐭𝐡 𝐚 𝐥𝐨𝐭 𝐨𝐟 𝐜𝐫𝐞𝐝𝐢𝐛𝐢𝐥𝐢𝐭𝐲. 𝐇𝐨𝐰 𝐝𝐨 𝐲𝐨𝐮 𝐟𝐢𝐧𝐝 𝐭𝐡𝐞 𝐫𝐢𝐠𝐡𝐭 𝐫𝐡𝐲𝐭𝐡𝐦 𝐟𝐨𝐫 𝐞𝐚𝐜𝐡 𝐬𝐨𝐧𝐠? 𝐎𝐧 𝐭𝐡𝐞 𝐚𝐥𝐛𝐮𝐦 𝐭𝐡𝐞𝐫𝐞 𝐚𝐫𝐞 𝐬𝐨𝐦𝐞 𝐚𝐜𝐜𝐮𝐫𝐚𝐭𝐞 𝐚𝐧𝐝 𝐞𝐯𝐞𝐧 𝐫𝐮𝐬𝐡𝐞𝐝 𝐩𝐢𝐞𝐜𝐞𝐬, 𝐛𝐮𝐭 𝐚𝐥𝐬𝐨 𝐬𝐨𝐦𝐞 𝐝𝐞𝐥𝐢𝐜𝐚𝐭𝐞 𝐚𝐧𝐝 𝐯𝐞𝐫𝐲 𝐛𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 𝐨𝐧𝐞𝐬.
🔹𝐒𝐭𝐞𝐟𝐚𝐧: It's difficult to analyze the process, really (laughs). Miguel has been making music for a long time, more than twenty-five years, and traveling through different paths and different kinds of music. And we both love music and different kinds of music. So when we get together there are many things we like, many possibilities, many emotions, tempos and atmospheres that come up. Maybe the first album is more varied, and this album is a bit more club, but it still has some more sensitive tracks, as you said. But I don't know if I can answer your question, really, because sometimes we don't even know. Emotions drive us, and if it fits with our feelings and makes us both feel something, then it's already a track, something that works for the band. It's important not to limit yourself and, as Miguel said, sometimes a song starts out very dark but then, by adding another element like a singer or a (string) quartet, it goes another way. You have to let the music be free and not lock it in.

Photo credit: Javier Alonso & Marina Sanz

🎙️𝐏𝐫𝐞𝐜𝐢𝐬𝐞𝐥𝐲 𝐨𝐧𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐦𝐨𝐬𝐭 𝐬𝐭𝐫𝐢𝐤𝐢𝐧𝐠 𝐩𝐞𝐜𝐮𝐥𝐢𝐚𝐫𝐢𝐭𝐢𝐞𝐬 𝐨𝐟 "𝐂𝐨𝐦𝐩𝐥𝐞𝐱" 𝐚𝐫𝐞 𝐭𝐡𝐞 𝐠𝐮𝐞𝐬𝐭 𝐯𝐨𝐢𝐜𝐞𝐬. 𝐇𝐨𝐰 𝐝𝐨 𝐲𝐨𝐮 𝐠𝐞𝐭 𝐭𝐡𝐞𝐬𝐞 𝐜𝐨𝐥𝐥𝐚𝐛𝐨𝐫𝐚𝐭𝐨𝐫𝐬 𝐚𝐧𝐝 𝐡𝐨𝐰 𝐝𝐨 𝐲𝐨𝐮 𝐝𝐞𝐜𝐢𝐝𝐞 𝐰𝐡𝐨 𝐬𝐡𝐨𝐮𝐥𝐝 𝐬𝐢𝐧𝐠 𝐢𝐧 𝐞𝐚𝐜𝐡 𝐬𝐨𝐧𝐠? 𝐖𝐡𝐞𝐫𝐞 𝐝𝐨 𝐭𝐡𝐞𝐬𝐞 𝐜𝐨𝐥𝐥𝐚𝐛𝐨𝐫𝐚𝐭𝐢𝐨𝐧𝐬 𝐜𝐨𝐦𝐞 𝐟𝐫𝐨𝐦?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: It really happens naturally. It's true that when we started, at the beginning of the band, for 'Inside' there was a long time in which we were listening to voices that we liked. It was clear to us that they had to be female, because for male voices we both were already singing. That's when we spent time, while we were recording 'Inside', listening to singers. We passed each other names to see what the other thought about them. But once 'Inside' was finished, we had a number of singers who had said yes but didn't get into that album, so that work was already done for 'Complex'. In fact, there are more songs that in the end have not gone into 'Complex'. There are collaborations of 'Complex' that come from 'Inside' because they were already talked about. That's what happened, for example, with Katrina: we both wanted to work together. So, in the case of 'Complex', we can say that everything came together.


🎙️𝐈 𝐤𝐧𝐨𝐰 𝐰𝐞'𝐫𝐞 𝐭𝐚𝐥𝐤𝐢𝐧𝐠 𝐚𝐛𝐨𝐮𝐭 𝐟𝐞𝐦𝐚𝐥𝐞 𝐯𝐨𝐢𝐜𝐞𝐬, 𝐛𝐮𝐭 𝐡𝐚𝐯𝐞𝐧'𝐭 𝐲𝐨𝐮 𝐞𝐯𝐞𝐫 𝐭𝐞𝐦𝐩𝐭𝐞𝐝 𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨 (𝐥𝐞𝐚𝐝 𝐬𝐢𝐧𝐠𝐞𝐫 𝐨𝐟 𝐏𝐥𝐚𝐜𝐞𝐛𝐨) 𝐭𝐨 𝐝𝐨 𝐯𝐨𝐜𝐚𝐥𝐬 𝐨𝐧 𝐚 𝐬𝐨𝐧𝐠?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: That's for Stefan (laughs).
🔹𝐒𝐭𝐞𝐟𝐚𝐧: (Smiles). Yes, you never know. Not so far, but you never know.


🎙️𝐓𝐡𝐞𝐫𝐞 𝐡𝐚𝐯𝐞 𝐛𝐞𝐞𝐧 𝐬𝐞𝐯𝐞𝐫𝐚𝐥 𝐝𝐞𝐥𝐚𝐲𝐬 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐫𝐞𝐥𝐞𝐚𝐬𝐞 𝐨𝐟 𝐭𝐡𝐢𝐬 𝐚𝐥𝐛𝐮𝐦, 𝐰𝐡𝐢𝐜𝐡 𝐰𝐚𝐬 𝐚𝐥𝐫𝐞𝐚𝐝𝐲 𝐩𝐡𝐲𝐬𝐢𝐜𝐚𝐥𝐥𝐲 𝐦𝐚𝐧𝐮𝐟𝐚𝐜𝐭𝐮𝐫𝐞𝐝 𝐬𝐨𝐦𝐞 𝐭𝐢𝐦𝐞 𝐚𝐠𝐨. 𝐖𝐡𝐚𝐭 𝐡𝐚𝐩𝐩𝐞𝐧𝐞𝐝?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: There has been a little bit of everything: pandemic, health problems... a little bit of everything. Life. But the biggest delay was due to the pandemic. We wanted to accompany the release of the album with concerts. By delaying it, this has given this album a different life.

I think it's not better or worse, because for the people who follow us it's been like some songs came out twice, right? Maybe "High In The Sky" or "Together" are songs that have had a double life. The more intimate ones are coming out now and they are a bit of a novelty. But well, life takes you along and when you reach certain ages like ours (we are approaching fifty) then sometimes you have to stop, gather strength and then continue.


🎥 𝑯𝒊𝒈𝒉 𝑰𝒏 𝑻𝒉𝒆 𝑺𝒌𝒚 - 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 - 𝑪𝒐𝒏𝒄𝒊𝒆𝒓𝒕𝒐𝒔 𝒅𝒆 𝑹𝒂𝒅𝒊𝒐 𝟑 (𝟐𝟎𝟐𝟏) 🎶
https://youtu.be/2eRu0QPEE1k


🎙️𝐈 𝐭𝐡𝐢𝐧𝐤 𝐲𝐨𝐮𝐫 𝐭𝐰𝐨 𝐚𝐥𝐛𝐮𝐦𝐬 𝐡𝐚𝐯𝐞 𝐯𝐞𝐫𝐲 𝐫𝐞𝐜𝐨𝐠𝐧𝐢𝐳𝐚𝐛𝐥𝐞 𝐭𝐞𝐱𝐭𝐮𝐫𝐞𝐬, 𝐬𝐨𝐦𝐞𝐭𝐡𝐢𝐧𝐠 𝐭𝐡𝐚𝐭 𝐢𝐬 𝐧𝐨𝐭 𝐞𝐚𝐬𝐲 𝐢𝐧 𝐭𝐡𝐞 𝐞𝐥𝐞𝐜𝐭𝐫𝐨𝐧𝐢𝐜 𝐟𝐢𝐞𝐥𝐝. 𝐖𝐡𝐚𝐭 𝐤𝐢𝐧𝐝 𝐨𝐟 𝐚𝐥𝐛𝐮𝐦𝐬 𝐚𝐫𝐞 𝐲𝐨𝐮 𝐥𝐨𝐨𝐤𝐢𝐧𝐠 𝐭𝐨 𝐦𝐚𝐤𝐞? 𝐖𝐡𝐚𝐭 𝐪𝐮𝐚𝐥𝐢𝐭𝐲 𝐝𝐨𝐞𝐬 𝐲𝐨𝐮𝐫 𝐦𝐮𝐬𝐢𝐜 𝐧𝐞𝐜𝐞𝐬𝐬𝐚𝐫𝐢𝐥𝐲 𝐡𝐚𝐯𝐞 𝐭𝐨 𝐡𝐚𝐯𝐞?
🔹𝐒𝐭𝐞𝐟𝐚𝐧: It's hard to answer. In the beginning of the band we wanted to see what we were able to do mixing electronics with the (string) quartet. That was very basic. But within that there are many worlds to discover: different kinds of songs, with singers, instrumental songs... It's like creating a world that we feel is our world. It's like creating a world that we feel is our world. In which all sounds that we like fit... excuse me, sometimes my Spanish…


🎙️𝐘𝐨𝐮 𝐜𝐚𝐧 𝐚𝐧𝐬𝐰𝐞𝐫 𝐢𝐧 𝐄𝐧𝐠𝐥𝐢𝐬𝐡 𝐒𝐭𝐞𝐟𝐚𝐧, 𝐧𝐨 𝐩𝐫𝐨𝐛𝐥𝐞𝐦….
🔹𝐒𝐭𝐞𝐟𝐚𝐧: (𝘚𝘸𝘪𝘵𝘤𝘩𝘦𝘴 𝘵𝘰 𝘌𝘯𝘨𝘭𝘪𝘴𝘩) I think we're just trying to create a world of our own where all sounds and kinds of emotions respond to the music. Even the worlds of strings and electronics, where there are guitars, electronic basses, etc. It's hard to focus on just one thing.
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: When you say that you see a sound in the two albums and that it has a connection... I think that more than looking for it (even though as Stefan said we wanted to mix the world of strings with the world of electronics), it happens that they interconnect in some way. Maybe in 'Inside' we didn't have it so clear yet, because we hadn't given many concerts yet, but in 'Complex' everything happens naturally. We make the songs and when the strings come in, they just blend together and that's our sound. And even beyond the album, it also happens live.

It is difficult to find a live project in which you get your own sound, based on having an instrumentation that is more difficult to take live, as happens with a string quartet, or as when we go with another set and there is viola or cello or Stefan who also plays strings or keyboard creating another kind of atmosphere. But in the end everything unifies, both live and on the albums. We are not too obsessed with it because we are lucky that it is unified with the instruments.

Photo credit: Javier Alonso & Marina Sanz

🎙️𝐘𝐨𝐮 𝐭𝐨𝐨𝐤 𝐚𝐝𝐯𝐚𝐧𝐭𝐚𝐠𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐜𝐨𝐧𝐟𝐢𝐧𝐞𝐦𝐞𝐧𝐭 𝐭𝐨 𝐫𝐞𝐥𝐞𝐚𝐬𝐞 𝐚 𝐧𝐞𝐰 𝐩𝐫𝐨𝐣𝐞𝐜𝐭, 𝐌𝐚𝐝𝐞 𝐅𝐨𝐫 𝐇𝐮𝐦𝐚𝐧𝐬, 𝐚𝐧𝐝 𝐞𝐯𝐞𝐧 𝐫𝐞𝐥𝐞𝐚𝐬𝐞𝐝 𝐚 𝐟𝐮𝐥𝐥-𝐥𝐞𝐧𝐠𝐭𝐡 𝐚𝐥𝐛𝐮𝐦. 𝐀𝐩𝐚𝐫𝐭 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐟𝐚𝐜𝐭 𝐭𝐡𝐚𝐭 𝐭𝐡𝐢𝐬 𝐩𝐫𝐨𝐣𝐞𝐜𝐭 𝐢𝐬 𝐬𝐭𝐫𝐢𝐜𝐭𝐥𝐲 𝐢𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭𝐚𝐥, 𝐰𝐡𝐚𝐭 𝐚𝐫𝐞 𝐭𝐡𝐞 𝐝𝐢𝐟𝐟𝐞𝐫𝐞𝐧𝐜𝐞𝐬 𝐰𝐢𝐭𝐡 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏 + 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥? 𝐖𝐡𝐚𝐭 𝐝𝐨𝐞𝐬 𝐢𝐭 𝐛𝐫𝐢𝐧𝐠 𝐭𝐨 𝐲𝐨𝐮 𝐭𝐡𝐚𝐭 𝐲𝐨𝐮 𝐝𝐨𝐧'𝐭 𝐠𝐞𝐭 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐦𝐚𝐢𝐧 𝐩𝐫𝐨𝐣𝐞𝐜𝐭?
🔹𝐒𝐭𝐞𝐟𝐚𝐧: It came about because we were locked up and couldn't see each other. We had a lot of plans to release the album 'Complex' and do a couple of gigs. But everything was lost with the pandemic, so we did this project to have something together and to be able to travel with the music. Made For Humans emerged a bit like this, and also to differentiate it a bit from the other band, Digital 21 + Stefan Olsdal, it was something without a lot of hype. It's the moods that the music suggested to us at the time, during all the chaos that was outside the house.
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: It's something that felt really good at the time and that we've continued to do. We are composing and recording songs for a second Made For Humans album. Hopefully without another pandemic and, in fact, hopefully with the pandemic over.


🎙️𝐇𝐨𝐰 𝐝𝐨𝐞𝐬 𝐭𝐡𝐞 𝐭𝐨𝐩𝐢𝐜 𝐨𝐟 𝐭𝐡𝐞 𝐭𝐨𝐮𝐫 𝐚𝐫𝐢𝐬𝐞 𝐧𝐨𝐰 𝐭𝐡𝐚𝐭 𝐭𝐡𝐞 𝐚𝐥𝐛𝐮𝐦 𝐟𝐢𝐧𝐚𝐥𝐥𝐲 𝐬𝐞𝐞𝐬 𝐭𝐡𝐞 𝐥𝐢𝐠𝐡𝐭 𝐚𝐧𝐝 𝐡𝐨𝐰 𝐝𝐨 𝐲𝐨𝐮 𝐝𝐞𝐟𝐢𝐧𝐞 𝐲𝐨𝐮𝐫 𝐜𝐨𝐧𝐜𝐞𝐫𝐭𝐬?
🔸𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: Touring is very difficult, because now practically when we release the album will also be released Stefan's album with Placebo and they have planned a very big tour. What we will do is play at some festivals, and we are very happy and looking forward to it. It will be at Sonorama here in Spain, at a festival in Russia in Moscow, another one in Ukraine... Well, the formula is very different in each concert. In each place we have been adapting different formations, different ways of doing the live shows, different ways of approaching the songs.

Fortunately, we have invested a lot of preparation time to make both the first album and the second one. Live there are electronic bands that are often very restricted, with songs with a beginning and an end, but this is something that doesn't happen in our case. There are some concerts in which you don't have a time clock and there is a lot of improvisation, while in other concerts you have to have everything timed. Like recently, we played in Los Conciertos de Radio 3 on La 2 and it's a problem because when that moment of improvisation comes you are looking at the clock at the same time you are playing. But we have reached a point where, fortunately, we can do concerts with a very different line-up and a very different approach. We have even played totally acoustic concerts: string and acoustic guitar and Stefan playing piano and vocals in addition to the quartet. Also with the formation of eight, with guitar, bass, synths, drums, three voices; Or formation of four. We really do at each festival or concert what we want or what suits us best. That's one of the things we like most about our band, that versatility and being able to approach the concert almost as if it were a Lego. For example, at La Riviera with Jon Hopkins we did a line-up that we have never done again: bass, viola, drums and the two of us. Or a concert without any electronics that we did at a film festival in Germany, in a gothic church. It depends a lot on each concert, that's good for us, I don't know if so much for the audience: there are people who want to see what they expect, but we as musicians are at that point of doing at every moment what we want.


🎙️𝐓𝐨 𝐟𝐢𝐧𝐢𝐬𝐡, 𝐒𝐭𝐞𝐟𝐚𝐧, 𝐈 𝐡𝐚𝐯𝐞 𝐭𝐨 𝐚𝐬𝐤 𝐲𝐨𝐮 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐧𝐞𝐰 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐚𝐥𝐛𝐮𝐦, 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐰𝐞'𝐯𝐞 𝐛𝐞𝐞𝐧 𝐰𝐚𝐢𝐭𝐢𝐧𝐠 𝐞𝐢𝐠𝐡𝐭 𝐲𝐞𝐚𝐫𝐬 𝐟𝐨𝐫 𝐭𝐡𝐢𝐬 𝐧𝐞𝐰 𝐚𝐥𝐛𝐮𝐦. 𝐀𝐧𝐝 𝐭𝐡𝐞 𝐭𝐰𝐨 𝐩𝐫𝐞𝐯𝐢𝐞𝐰𝐬, "𝐁𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 𝐉𝐚𝐦𝐞𝐬" 𝐚𝐧𝐝 "𝐒𝐮𝐫𝐫𝐨𝐮𝐧𝐝𝐞𝐝 𝐁𝐲 𝐒𝐩𝐢𝐞𝐬", 𝐚𝐫𝐞 𝐦𝐚𝐠𝐧𝐢𝐟𝐢𝐜𝐞𝐧𝐭. 𝐖𝐡𝐚𝐭 𝐜𝐚𝐧 𝐲𝐨𝐮 𝐭𝐞𝐥𝐥 𝐦𝐞 𝐚𝐛𝐨𝐮𝐭 "𝐍𝐞𝐯𝐞𝐫 𝐋𝐞𝐭 𝐌𝐞 𝐆𝐨"?
🔹𝐒𝐭𝐞𝐟𝐚𝐧: Thank you very much. Yes, the two singles we have released are kind of the yin and yang of the album. It comes out in March, and we've been working on it for a long time, but it's done and I'm very happy. I'm really looking forward to it. I think the pandemic has given us a lot of time to focus on the music, and now it's time to get back to giving audiences and fans new music and also to do concerts again. It's time.✪

▪️𝚂𝚘𝚞𝚛𝚌𝚎: https://bit.ly/3dYLrct

🖋️𝙾𝚛𝚒𝚐𝚒𝚗𝚊𝚕 𝚃𝚎𝚡𝚝: 𝑅𝑎𝑢́𝑙 𝐽𝑢𝑙𝑖𝑎́𝑛, 15.12.2021
▪️𝙴𝚗𝚐𝚕𝚒𝚜𝚑 𝚃𝚛𝚊𝚗𝚜𝚕𝚊𝚝𝚒𝚘𝚗: 𝑅𝑖𝑡𝑎 𝑀𝑜𝑙𝑘𝑜 𝑑𝑒 𝐿. 𝑓𝑜𝑟 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐴𝑛𝑦𝑤𝑎𝑦

Post by Rita

⭐𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐃𝐈𝐆𝐈𝐓𝐀𝐋 𝟐𝟏 & 𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 𝐃𝐉 𝐌𝐀𝐆 𝐄𝐒𝐏⭐

𝐒𝐨𝐩𝐡𝐢𝐬𝐭𝐢𝐜𝐚𝐭𝐢𝐨𝐧, 𝐞𝐥𝐚𝐛𝐨𝐫𝐚𝐭𝐢𝐨𝐧 𝐚𝐧𝐝 𝐢𝐧𝐭𝐞𝐥𝐥𝐢𝐠𝐞𝐧𝐜𝐞 𝐢𝐧 𝐭𝐡𝐞𝐢𝐫 𝐧𝐞𝐰 𝐰𝐨𝐫𝐤, '𝐂𝐨𝐦𝐩𝐥𝐞𝐱'.
𝘛𝘩𝘦 𝘤𝘰𝘯𝘴𝘵𝘳𝘶𝘤𝘵𝘪𝘰𝘯 𝘰𝘧 𝘢𝘯 𝘰𝘸𝘯 𝘴𝘰𝘶𝘯𝘥 𝘵𝘩𝘢𝘵 𝘪𝘥𝘦𝘯𝘵𝘪𝘧𝘪𝘦𝘴 𝘵𝘩𝘦 𝘨𝘳𝘰𝘶𝘱 𝘢𝘴 𝘢 𝘶𝘯𝘪𝘲𝘶𝘦 𝘪𝘥𝘦𝘯𝘵𝘪𝘵𝘺 𝘩𝘢𝘴 𝘭𝘦𝘥 𝐷𝑖𝑔𝑖𝑡𝑎𝑙 21 and 𝑆𝑡𝑒𝑓𝑎𝑛 𝑂𝑙𝑠𝑑𝑎𝑙 𝘵𝘰 𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘰𝘧 𝘵𝘩𝘦𝘪𝘳 𝘴𝘦𝘤𝘰𝘯𝘥 𝘢𝘭𝘣𝘶𝘮, '𝐶𝑜𝑚𝑝𝑙𝑒𝑥'. 𝘛𝘦𝘯 𝘴𝘪𝘯𝘨𝘭𝘦𝘴 𝘸𝘩𝘦𝘳𝘦 𝘪𝘯𝘵𝘶𝘪𝘵𝘪𝘰𝘯 𝘪𝘴 𝘥𝘦𝘷𝘦𝘭𝘰𝘱𝘦𝘥 𝘢𝘵 𝘢 𝘩𝘪𝘨𝘩 𝘮𝘶𝘴𝘪𝘤𝘢𝘭 𝘢𝘯𝘥 𝘵𝘦𝘤𝘩𝘯𝘪𝘤𝘢𝘭 𝘭𝘦𝘷𝘦𝘭, 𝘮𝘢𝘬𝘪𝘯𝘨 𝘦𝘷𝘪𝘥𝘦𝘯𝘵 𝘵𝘩𝘦 𝘩𝘰𝘶𝘳𝘴 (𝘢𝘯𝘥 𝘦𝘷𝘦𝘯 𝘺𝘦𝘢𝘳𝘴) 𝘰𝘧 𝘸𝘰𝘳𝘬 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘤𝘳𝘺𝘴𝘵𝘢𝘭𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘢𝘯 𝘰𝘸𝘯 𝘪𝘯𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵𝘢𝘭 𝘭𝘢𝘯𝘨𝘶𝘢𝘨𝘦 𝘭𝘰𝘢𝘥𝘦𝘥 𝘸𝘪𝘵𝘩 𝘩𝘪𝘨𝘩 𝘥𝘦𝘨𝘳𝘦𝘦𝘴 𝘰𝘧 𝘴𝘶𝘣𝘵𝘭𝘦𝘵𝘺 𝘢𝘯𝘥 𝘢 𝘴𝘤𝘢𝘭𝘦 𝘰𝘧 𝘨𝘳𝘢𝘺𝘴 𝘴𝘰 𝘦𝘹𝘵𝘳𝘦𝘮𝘦𝘭𝘺 𝘳𝘪𝘤𝘩 𝘵𝘩𝘢𝘵 𝘪𝘵 𝘪𝘴 𝘦𝘷𝘪𝘥𝘦𝘯𝘵 𝘵𝘰 𝘵𝘩𝘦 𝘭𝘪𝘴𝘵𝘦𝘯𝘦𝘳 𝘵𝘩𝘦 𝘩𝘪𝘨𝘩 𝘱𝘳𝘰𝘤𝘦𝘴𝘴 𝘰𝘧 𝘯𝘶𝘢𝘯𝘤𝘦 𝘮𝘢𝘥𝘦 𝘣𝘺 𝘵𝘩𝘦 𝘥𝘶𝘰, 𝘵𝘶𝘯𝘪𝘯𝘨 𝘦𝘢𝘤𝘩 𝘤𝘩𝘰𝘳𝘥 𝘢𝘯𝘥 𝘧𝘪𝘭𝘭𝘪𝘯𝘨 𝘦𝘢𝘤𝘩 𝘴𝘰𝘶𝘯𝘥 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘷𝘰𝘪𝘤𝘦𝘴, 𝘤𝘭𝘦𝘢𝘳 𝘱𝘳𝘰𝘵𝘢𝘨𝘰𝘯𝘪𝘴𝘵𝘴 𝘢𝘭𝘴𝘰 𝘪𝘯 𝘵𝘩𝘪𝘴 𝘴𝘦𝘤𝘰𝘯𝘥 𝘸𝘰𝘳𝘬 𝘢𝘯𝘥 𝘪𝘵𝘴 𝘤𝘰𝘮𝘱𝘭𝘦𝘹 𝘱𝘢𝘭𝘦𝘵𝘵𝘦 𝘰𝘧 𝘤𝘰𝘯𝘵𝘦𝘹𝘵𝘶𝘢𝘭 𝘤𝘰𝘭𝘰𝘳𝘴.

Photo credit:  Javier Alonso 

🔸𝐓𝐡𝐞 𝐟𝐢𝐫𝐬𝐭 𝐬𝐢𝐧𝐠𝐥𝐞 𝐩𝐫𝐞𝐬𝐞𝐧𝐭𝐞𝐝 𝐰𝐚𝐬 '𝐓𝐡𝐞 𝐧𝐞𝐰 𝐓𝐡𝐢𝐧𝐠', 𝐚 𝐭𝐫𝐚𝐜𝐤 𝐭𝐡𝐚𝐭 𝐭𝐚𝐥𝐤𝐬 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐬𝐮𝐫𝐯𝐞𝐢𝐥𝐥𝐚𝐧𝐜𝐞 𝐚𝐧𝐝 𝐬𝐚𝐥𝐞 𝐨𝐟 𝐨𝐮𝐫 𝐝𝐚𝐭𝐚 𝐨𝐧 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐧𝐞𝐭. 𝐖𝐡𝐲 𝐰𝐚𝐬 𝐭𝐡𝐢𝐬 𝐬𝐢𝐧𝐠𝐥𝐞 𝐜𝐡𝐨𝐬𝐞𝐧 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐩𝐫𝐞𝐬𝐞𝐧𝐭𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 '𝐂𝐨𝐦𝐩𝐥𝐞𝐱'?
🎤 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: We like the way it starts with our string quartet mixing with the synths... And also because of the video... It has been recorded during 2 years in 4 countries and has direct and indirect messages. But almost all the songs on 'Complex' will be released as singles and will also have music videos.

🔸𝐖𝐡𝐚𝐭 𝐚𝐫𝐞 𝐭𝐡𝐞 𝐦𝐨𝐬𝐭 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭 𝐩𝐨𝐢𝐧𝐭𝐬 𝐲𝐨𝐮 𝐰𝐨𝐮𝐥𝐝 𝐡𝐢𝐠𝐡𝐥𝐢𝐠𝐡𝐭 𝐟𝐫𝐨𝐦 𝐭𝐡𝐢𝐬 𝐬𝐢𝐧𝐠𝐥𝐞?
🎤 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥: As we still live and work in different cities like London and Madrid, we needed the technology to create music together. It also gives us a lot of opportunities within the sound, which are coupled with "timeless" instruments like the quartet sound.

🔸𝐓𝐡𝐢𝐬 𝐟𝐢𝐫𝐬𝐭 𝐬𝐢𝐧𝐠𝐥𝐞 𝐦𝐚𝐫𝐤𝐬 𝐭𝐡𝐞 𝐛𝐞𝐠𝐢𝐧𝐧𝐢𝐧𝐠 𝐨𝐟 𝐚 𝐧𝐞𝐰 𝐣𝐨𝐮𝐫𝐧𝐞𝐲 𝐭𝐡𝐚𝐭 𝐟𝐨𝐫𝐜𝐞𝐬 𝐮𝐬 𝐭𝐨 𝐫𝐞𝐟𝐥𝐞𝐜𝐭 𝐨𝐧 𝐭𝐡𝐞 𝐩𝐫𝐞𝐬𝐞𝐧𝐭 𝐚𝐧𝐝 𝐚𝐥𝐢𝐞𝐧𝐚𝐭𝐢𝐧𝐠 𝐝𝐲𝐬𝐭𝐨𝐩𝐢𝐚 𝐭𝐡𝐚𝐭 𝐦𝐚𝐤𝐞𝐬 𝐮𝐬 𝐬𝐥𝐚𝐯𝐞𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐜𝐫𝐞𝐞𝐧. 𝐖𝐢𝐥𝐥 𝐭𝐡𝐢𝐬 𝐭𝐡𝐨𝐮𝐠𝐡𝐭 𝐛𝐞 𝐭𝐡𝐞 𝐞𝐭𝐡𝐢𝐜𝐚𝐥 𝐚𝐧𝐝 𝐬𝐨𝐧𝐨𝐫𝐨𝐮𝐬 𝐜𝐨𝐦𝐦𝐚𝐧𝐝𝐞𝐫 𝐨𝐟 𝐭𝐡𝐞 𝐚𝐥𝐛𝐮𝐦?
🎤 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: Sure! There is quite a lot of this on the album (laughs). What unites them all is the mixture of string instruments. I think strings, wind instruments or even church organs are part of the message along with the lyrics... They complete them!
🎤 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥: It's all part of our musical world where we invite the audience to escape, if only for a while! (laughs).

🔸𝐈𝐧 𝐭𝐡𝐞 𝐜𝐚𝐫𝐞𝐞𝐫 𝐨𝐟 𝐚𝐧𝐲 𝐜𝐨𝐡𝐞𝐫𝐞𝐧𝐭 𝐚𝐫𝐭𝐢𝐬𝐭, 𝐞𝐚𝐜𝐡 𝐰𝐨𝐫𝐤 𝐢𝐬 𝐚𝐧 𝐨𝐩𝐩𝐨𝐫𝐭𝐮𝐧𝐢𝐭𝐲 𝐟𝐨𝐫 𝐝𝐢𝐬𝐜𝐨𝐯𝐞𝐫𝐲 𝐚𝐧𝐝 𝐞𝐯𝐨𝐥𝐮𝐭𝐢𝐨𝐧. 𝐇𝐨𝐰 𝐡𝐚𝐬 𝐭𝐡𝐢𝐬 𝐧𝐞𝐰 𝐚𝐥𝐛𝐮𝐦 𝐦𝐚𝐝𝐞 𝐲𝐨𝐮 𝐠𝐫𝐨𝐰 𝐚𝐬 𝐚 𝐛𝐚𝐧𝐝 𝐨𝐫 𝐢𝐧 𝐚 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥 𝐰𝐚𝐲?
🎤 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: There is a clear evolution of the band. Last year we created "Made for humans" - our second band together - to create slower and more instrumental music. This makes 'Complex' and us in Digital 21 and Stefan Olsdal as a band even more defined, it has also opened more doors for us than we imagined! Personally... What I always feel is a lot of desire to start the next one and 'Complex' has definitely multiplied that desire.
🎤 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥: The process of creating an album serves as inspiration for what follows. Only in the studio with the quartet and synths we open up new possibilities and ideas to try out. The pure sound of the strings takes us to a certain world and the electronic elements... to another! This is the combination we are interested in! (laughs)

Photo credit unknown

🔸'𝐎𝐯𝐞𝐫' 𝐢𝐬 𝐭𝐡𝐞 𝐬𝐞𝐜𝐨𝐧𝐝 𝐬𝐢𝐧𝐠𝐥𝐞 𝐟𝐫𝐨𝐦 '𝐂𝐨𝐦𝐩𝐥𝐞𝐱'. 𝐖𝐡𝐲 𝐭𝐡𝐢𝐬 𝐯𝐞𝐫𝐬𝐢𝐨𝐧 -𝐩𝐞𝐫𝐡𝐚𝐩𝐬 𝐚 𝐛𝐢𝐭 𝐦𝐨𝐫𝐞 𝐚𝐜𝐨𝐮𝐬𝐭𝐢𝐜- 𝐨𝐟 𝐭𝐡𝐞 𝐰𝐞𝐥𝐥-𝐤𝐧𝐨𝐰𝐧 𝐈𝐜𝐞𝐥𝐚𝐧𝐝𝐢𝐜 𝐛𝐚𝐧𝐝 𝐆𝐮𝐬𝐠𝐮𝐬 𝐟𝐨𝐫 𝐭𝐡𝐢𝐬 𝐬𝐞𝐜𝐨𝐧𝐝 𝐬𝐢𝐧𝐠𝐥𝐞?
🎤 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: As you well remember, with 'Inside' we did 'Rusty Nails' by Moderat but brought to our style thanks to the string quartet. Now with 'Complex' we felt that the single 'Over' was the perfect song to transmit certain emotions with the electric piano and again, this accompaniment with the strings.
Another curious fact: The album 'Inside' kicked off with the collaboration of the Icelandic Margrét Rán and likewise, within 'Complex' there are 2 songs with another singer from the Nordic island country, Katrína Mogensen. We both love Iceland! (laughs).
🎤 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥: Every song comes out as a single from this album, for a better presentation of the album. 'Over' gave us a chance to do something slower and with more space in contrast to other tracks like 'Rebellion' or 'Together'.

🔸𝐈𝐧 𝐭𝐡𝐞𝐬𝐞 𝐟𝐢𝐫𝐬𝐭 𝐭𝐰𝐨 𝐬𝐢𝐧𝐠𝐥𝐞𝐬 𝐰𝐞 𝐬𝐞𝐞 𝐚 𝐜𝐥𝐞𝐚𝐫 𝐧𝐨𝐝 𝐭𝐨 𝐭𝐡𝐞 𝐫𝐢𝐬𝐞 𝐢𝐧 𝐭𝐡𝐞 𝐜𝐨𝐧𝐬𝐮𝐦𝐩𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐞𝐜𝐡𝐧𝐨𝐥𝐨𝐠𝐲 𝐚𝐧𝐝 𝐭𝐡𝐞 𝐠𝐫𝐨𝐰𝐢𝐧𝐠 𝐮𝐧𝐜𝐞𝐫𝐭𝐚𝐢𝐧𝐭𝐲 𝐚𝐫𝐨𝐮𝐧𝐝 𝐢𝐭𝐬 𝐚𝐮𝐭𝐨𝐦𝐚𝐭𝐢𝐨𝐧, 𝐰𝐞 𝐚𝐥𝐬𝐨 𝐬𝐞𝐞 𝐚𝐧 𝐞𝐱𝐩𝐥𝐨𝐫𝐚𝐭𝐢𝐨𝐧 𝐢𝐧𝐭𝐨 𝐭𝐡𝐞𝐦𝐞𝐬 𝐬𝐮𝐜𝐡 𝐚𝐬 𝐥𝐨𝐧𝐞𝐥𝐢𝐧𝐞𝐬𝐬 𝐚𝐬 𝐚 𝐜𝐡𝐚𝐨𝐭𝐢𝐜 𝐫𝐞𝐟𝐥𝐞𝐜𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞 𝐰𝐚𝐫 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐬𝐨𝐮𝐥 𝐚𝐧𝐝 𝐦𝐚𝐜𝐡𝐢𝐧𝐞. 𝐖𝐡𝐚𝐭 𝐨𝐭𝐡𝐞𝐫 𝐤𝐢𝐧𝐝𝐬 𝐨𝐟 𝐟𝐞𝐞𝐥𝐢𝐧𝐠𝐬 𝐨𝐫 𝐭𝐡𝐨𝐮𝐠𝐡𝐭𝐬 𝐰𝐢𝐥𝐥 𝐰𝐞 𝐬𝐞𝐞 𝐫𝐞𝐟𝐥𝐞𝐜𝐭𝐞𝐝 𝐢𝐧 𝐭𝐡𝐞 𝐧𝐞𝐱𝐭 𝐬𝐢𝐧𝐠𝐥𝐞𝐬?
🎤 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: From that war to the search for the engine of our lives and the desire to escape from everything at times. There are many feelings captured in the album. What unites them is the music, the string or the synths... It's like a journey... We have also tried to reflect the energy of the live performance. The combination of the quartet with the synths, bass, drums or vocals is what captures the energy of the live performance.
🎤 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥: We keep searching for what unites us within the chaos and being aware of the noise around us. We try to find what is really important... And that is an unstoppable quest!

🔸𝐖𝐞 𝐚𝐥𝐬𝐨 𝐬𝐞𝐞 𝐭𝐡𝐚𝐭 𝐞𝐚𝐜𝐡 𝐬𝐢𝐧𝐠𝐥𝐞 𝐢𝐬 𝐚𝐜𝐜𝐨𝐦𝐩𝐚𝐧𝐢𝐞𝐝 𝐛𝐲 𝐚 𝐩𝐢𝐞𝐜𝐞 𝐨𝐟 𝐚𝐫𝐭𝐰𝐨𝐫𝐤 𝐭𝐡𝐚𝐭 𝐌𝐢𝐠𝐮𝐞𝐥 (𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏) 𝐡𝐚𝐬 𝐜𝐫𝐞𝐚𝐭𝐞𝐝. 𝐖𝐡𝐚𝐭 𝐢𝐬 𝐭𝐡𝐞 𝐜𝐨𝐧𝐜𝐞𝐩𝐭 𝐛𝐞𝐡𝐢𝐧𝐝 𝐭𝐡𝐞𝐬𝐞 𝐰𝐨𝐫𝐤𝐬?
🎤𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏: After recording each album I lock myself up for a while to paint... On the first album there was one painting per single. On this second one all the singles are a fraction of a painting which is the album cover... Particles of Complex. The whole painting will come out with the album.
𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥: Miguel is a great artist who has not only carried out this artistic part of the album but has been in charge of each and every one of the new videos of the album.
𝑻𝒉𝒂𝒏𝒌𝒔 𝑫𝒋𝑴𝒂𝒈 𝑺𝒑𝒂𝒊𝒏, 𝒂𝒍𝒘𝒂𝒚𝒔 𝒂 𝒑𝒍𝒆𝒂𝒔𝒖𝒓𝒆 𝒕𝒐 𝒆𝒏𝒋𝒐𝒚 𝒚𝒐𝒖𝒓 𝒄𝒐𝒎𝒑𝒂𝒏𝒚.

⭐𝘞𝘦 𝘭𝘦𝘢𝘷𝘦 𝘺𝘰𝘶 𝘵𝘩𝘦 𝘱𝘰𝘥𝘤𝘢𝘴𝘵 𝘰𝘧 '𝐶𝑜𝑚𝑝𝑙𝑒𝑥' 𝘵𝘩𝘢𝘵 𝐷𝑖𝑔𝑖𝑡𝑎𝑙 21 + 𝑆𝑡𝑒𝑓𝑎𝑛 𝑂𝑙𝑠𝑑𝑎𝑙 𝘩𝘢𝘷𝘦 𝘮𝘢𝘥𝘦 𝘦𝘹𝘤𝘭𝘶𝘴𝘪𝘷𝘦𝘭𝘺 𝘧𝘰𝘳 𝐷𝐽 𝑀𝑎𝑔 𝐸𝑠 𝘣𝘦𝘭𝘰𝘸:
https://bit.ly/3wW7IAd 

𝙰𝚞𝚝𝚑𝚘𝚛: 𝐿𝑒𝑖𝑟𝑒 𝑍𝑢𝑙𝑜𝑎𝑔𝑎
𝙾𝚛𝚒𝚐𝚒𝚗𝚊𝚕 𝚃𝚎𝚡𝚝: https://bit.ly/3wUoPTc
𝙳𝙹 𝙼𝚊𝚐 𝙴𝚜 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟷𝟼, 𝟸𝟶𝟸𝟷.
𝙴𝚗𝚐𝚕𝚒𝚜𝚑 𝚃𝚛𝚊𝚗𝚜𝚕𝚊𝚝𝚒𝚘𝚗: 𝑅𝑖𝑡𝑎 𝑀𝑜𝑙𝑘𝑜 𝑑𝑒 𝐿. 𝑓𝑜𝑟 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐴𝑛𝑦𝑤𝑎𝑦

Post by Rita

✨ 🔊 𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋 𝐒𝐓𝐄𝐑𝐄𝐎: 𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 𝐎𝐅 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 🎶✨

Yesterday finally was released "𝑪𝒐𝒎𝒑𝒍𝒆𝒙", the second album by 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 and today I brought you a great article that I have translated for you, which was published in March 2020 when the pandemic was still not reaching us and they were planning to release this album in that same month. After a very complicated year and a long wait, it is truly a celebration to be able to listen to their new material. Enjoy reading what 𝑴𝒊𝒈𝒖𝒆𝒍 (𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏) and 𝑺𝒕𝒆𝒇𝒂𝒏 tell us in this article and let me know what you think about it.

Photo Credits: Screenshots from concert at de Radio 3 (2021) / Edit by Rita

✨ 🔊 𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋 𝐒𝐓𝐄𝐑𝐄𝐎: 𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 𝐎𝐅 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 🎶✨

𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's bassist, is about to release a new album with 𝑴𝒊𝒈𝒖𝒆𝒍 𝑳𝒐́𝒑𝒆𝒛 - a.k.a. 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏- called 𝑪𝒐𝒎𝒑𝒍𝒆𝒙 on March 20. It will be the second full-length of this project that debuted in 2015 with the EP 𝑹𝒆𝒃𝒆𝒍𝒍𝒊𝒐𝒏, combining electronic music and strings. On 𝑷𝒆𝒓𝒔𝒐𝒏𝒂𝒍 𝑺𝒕𝒆𝒓𝒆𝒐 of this week 𝑴𝒊𝒈𝒖𝒆𝒍 talks to us about the inspirations behind this work while 𝑺𝒕𝒆𝒇𝒂𝒏 takes the time to tell us about the five albums that changed his life forever.


"𝘛𝘰 𝘵𝘩𝘪𝘴 𝘥𝘢𝘺 𝘵𝘩𝘦 𝘣𝘪𝘨𝘨𝘦𝘴𝘵 𝘴𝘰𝘶𝘳𝘤𝘦 𝘰𝘧 𝘪𝘯𝘴𝘱𝘪𝘳𝘢𝘵𝘪𝘰𝘯 𝘪𝘴 𝘭𝘪𝘧𝘦," says 𝑴𝒊𝒈𝒖𝒆𝒍 𝑳𝒐́𝒑𝒆𝒛

- a.k.a. 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 -, the Spanish producer and musician who has been linked to the electronic scene since the late nineties. The duo he forms together with 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, bassist of 𝑷𝒍𝒂𝒄𝒆𝒃𝒐, released their first extended play in 2015, titled 𝑹𝒆𝒃𝒆𝒍𝒍𝒊𝒐𝒏,

and subsequently their first full-length 𝑰𝒏𝒔𝒊𝒅𝒆 in 2018. 𝑪𝒐𝒎𝒑𝒍𝒆𝒙, their second album, continues to expand this creative relationship where electronic music and strings come together in highly cinematic and catching landscapes.

It will be released next March 20 and, in 𝑴𝒊𝒈𝒖𝒆𝒍's words, "𝘪𝘵 𝘪𝘴 𝘪𝘯𝘴𝘱𝘪𝘳𝘦𝘥 𝘣𝘺 𝘭𝘪𝘧𝘦 𝘢𝘯𝘥 𝘸𝘩𝘢𝘵 𝘩𝘶𝘳𝘵𝘴 𝘶𝘴 𝘰𝘳 𝘸𝘩𝘢𝘵 𝘧𝘳𝘦𝘦𝘴 𝘶𝘴 𝘧𝘳𝘰𝘮 𝘪𝘵 𝘢𝘯𝘥 𝘮𝘢𝘬𝘦𝘴 𝘶𝘴 𝘸𝘦𝘭𝘭. 𝘌𝘷𝘦𝘳𝘺 𝘵𝘩𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘩𝘢𝘱𝘱𝘦𝘯𝘴 𝘪𝘯 𝘺𝘰𝘶𝘳 𝘭𝘪𝘧𝘦 𝘭𝘦𝘢𝘥𝘴 𝘺𝘰𝘶 𝘵𝘰 𝘸𝘳𝘪𝘵𝘦 𝘢 𝘭𝘺𝘳𝘪𝘤 𝘰𝘳 𝘤𝘰𝘮𝘱𝘰𝘴𝘦 𝘢 𝘴𝘰𝘯𝘨, 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘦𝘯𝘥𝘴 𝘶𝘱 𝘣𝘦𝘪𝘯𝘨 𝘮𝘶𝘴𝘪𝘤. 𝘛𝘩𝘦 𝘴𝘰𝘯𝘨 '𝘛𝘰𝘨𝘦𝘵𝘩𝘦𝘳' 𝘵𝘢𝘭𝘬𝘴 𝘢𝘣𝘰𝘶𝘵 𝘦𝘴𝘤𝘢𝘱𝘪𝘯𝘨 𝘧𝘳𝘰𝘮 𝘳𝘦𝘢𝘭𝘪𝘵𝘺 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘮𝘶𝘴𝘪𝘤, 𝘦𝘴𝘤𝘢𝘱𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘢 𝘱𝘦𝘳𝘴𝘰𝘯 𝘸𝘩𝘰 𝘮𝘢𝘬𝘦𝘴 𝘺𝘰𝘶 𝘧𝘭𝘺. 𝘐𝘵 𝘦𝘹𝘱𝘳𝘦𝘴𝘴𝘦𝘴 𝘩𝘰𝘸 𝘮𝘶𝘴𝘪𝘤 𝘦𝘷𝘢𝘥𝘦𝘴 𝘶𝘴 𝘢𝘯𝘥 𝘦𝘷𝘦𝘯 𝘱𝘳𝘰𝘵𝘦𝘤𝘵𝘴 𝘶𝘴 -𝘢𝘴 𝘵𝘩𝘦 𝘣𝘦𝘴𝘵 𝘮𝘦𝘥𝘪𝘤𝘪𝘯𝘦- 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘵𝘩𝘪𝘯𝘨𝘴 𝘵𝘩𝘢𝘵 𝘩𝘶𝘳𝘵 𝘶𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘳𝘦𝘢𝘭 𝘸𝘰𝘳𝘭𝘥".

Digital 21 a queerfest Saint Petersburg ( Russia).Photo credit: fotovoron 3

⭐ 𝑻𝒐𝒈𝒆𝒕𝒉𝒆𝒓 - 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 𝑪𝒐𝒏𝒄𝒊𝒆𝒓𝒕𝒐𝒔 𝒅𝒆 𝑹𝒂𝒅𝒊𝒐 𝟑 (𝟐𝟎𝟐𝟏) 🎶
▶️ https://youtu.be/yyjjqDTtXLE


The intention of joining as a duo was to create a sound and a world of their own, and in the seven years of the project's existence the compositions have gone through different textures, making use of winds, strings, giving rise to purely instrumental tracks or with vocals. 𝑪𝒐𝒎𝒑𝒍𝒆𝒙 summarizes this evolution: "𝘵𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘢𝘭𝘭 𝘬𝘪𝘯𝘥𝘴 𝘰𝘧 𝘵𝘦𝘹𝘵𝘶𝘳𝘦𝘴. 𝘚𝘰𝘮𝘦 𝘰𝘧 𝘧𝘳𝘢𝘨𝘪𝘭𝘪𝘵𝘺 𝘢𝘯𝘥 𝘰𝘵𝘩𝘦𝘳𝘴 𝘰𝘧 𝘨𝘳𝘦𝘢𝘵 𝘴𝘵𝘳𝘦𝘯𝘨𝘵𝘩. 𝘛𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘪𝘯𝘯𝘦𝘳 𝘴𝘵𝘰𝘳𝘮𝘴 𝘵𝘩𝘢𝘵 𝘢𝘳𝘦 𝘳𝘦𝘧𝘭𝘦𝘤𝘵𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘵𝘳𝘪𝘯𝘨𝘴 𝘰𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘺𝘯𝘵𝘩𝘦𝘴𝘪𝘻𝘦𝘳𝘴, 𝘰𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘭𝘢𝘴𝘩 𝘰𝘧 𝘣𝘰𝘵𝘩. 𝘛𝘩𝘦𝘳𝘦 𝘪𝘴 𝘣𝘦𝘢𝘶𝘵𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘵𝘳𝘪𝘯𝘨 𝘱𝘢𝘴𝘴𝘢𝘨𝘦𝘴, 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘩𝘶𝘳𝘤𝘩 𝘰𝘳𝘨𝘢𝘯 𝘰𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘸𝘪𝘯𝘥 𝘴𝘦𝘤𝘵𝘪𝘰𝘯𝘴. 𝘞𝘦 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦 𝘵𝘰 𝘯𝘶𝘳𝘵𝘶𝘳𝘦 𝘰𝘶𝘳 𝘮𝘢𝘪𝘯 𝘴𝘪𝘥𝘦𝘴: 𝘢 𝘮𝘰𝘳𝘦 𝘦𝘭𝘦𝘤𝘵𝘳𝘰𝘯𝘪𝘤 𝘰𝘯𝘦 -𝘸𝘩𝘪𝘤𝘩 𝘪𝘴 𝘵𝘩𝘦 𝘰𝘯𝘦 𝘸𝘦 𝘱𝘭𝘢𝘺 𝘢𝘵 𝘧𝘦𝘴𝘵𝘪𝘷𝘢𝘭𝘴 𝘰𝘳 𝘤𝘭𝘶𝘣𝘴- 𝘢𝘯𝘥 𝘢 𝘮𝘰𝘳𝘦 𝘪𝘯𝘵𝘪𝘮𝘢𝘵𝘦 𝘰𝘯𝘦, 𝘸𝘩𝘪𝘤𝘩 𝘸𝘰𝘳𝘬𝘴 𝘣𝘦𝘵𝘵𝘦𝘳 𝘪𝘯 𝘢 𝘵𝘩𝘦𝘢𝘵𝘦𝘳 𝘰𝘳 𝘢𝘯 𝘢𝘶𝘥𝘪𝘵𝘰𝘳𝘪𝘶𝘮, 𝘪𝘯 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘪𝘯 𝘤𝘰𝘮𝘱𝘭𝘦𝘵𝘦 𝘴𝘪𝘭𝘦𝘯𝘤𝘦. 𝘓𝘪𝘷𝘦, 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦𝘴 𝘵𝘰 𝘨𝘳𝘰𝘸 𝘢𝘯𝘥 𝘯𝘰𝘸 𝘸𝘦 𝘩𝘢𝘷𝘦 𝘦𝘪𝘨𝘩𝘵 𝘮𝘶𝘴𝘪𝘤𝘪𝘢𝘯𝘴 𝘰𝘯 𝘴𝘵𝘢𝘨𝘦, 𝘴𝘵𝘳𝘪𝘯𝘨 𝘲𝘶𝘢𝘳𝘵𝘦𝘵, 𝘵𝘩𝘳𝘦𝘦 𝘷𝘰𝘪𝘤𝘦𝘴, 𝘴𝘺𝘯𝘵𝘩𝘦𝘴𝘪𝘻𝘦𝘳𝘴, 𝘨𝘶𝘪𝘵𝘢𝘳, 𝘣𝘢𝘴𝘴, 𝘥𝘳𝘶𝘮𝘴, 𝘵𝘩𝘦𝘳𝘦𝘮𝘪𝘯, 𝘦𝘵𝘤. 𝘞𝘦 𝘢𝘳𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘪𝘯𝘤𝘰𝘳𝘱𝘰𝘳𝘢𝘵𝘪𝘯𝘨 𝘮𝘰𝘳𝘦 𝘦𝘭𝘦𝘮𝘦𝘯𝘵𝘴, 𝘮𝘢𝘬𝘪𝘯𝘨 𝘵𝘩𝘦 𝘴𝘰𝘶𝘯𝘥 𝘱𝘢𝘭𝘦𝘵𝘵𝘦 𝘸𝘪𝘥𝘦𝘳".

🔹𝐇𝐨𝐰 𝐢𝐬 𝐭𝐡𝐞 𝐝𝐲𝐧𝐚𝐦𝐢𝐜 𝐰𝐡𝐞𝐧 𝐜𝐨𝐦𝐩𝐨𝐬𝐢𝐧𝐠 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐲𝐨𝐮 𝐚𝐧𝐝 𝐒𝐭𝐞𝐟𝐚𝐧?
🎤 It's focused on squeezing every note, recording or feeling each song to the maximum. We both like what the other part does in each song. We have the facility to play quite a few instruments and also have our own recording studios, one in London and one in Madrid. So we add up all our instruments and the two studios and our albums come out.


✨🎼 𝐁𝐋𝐀𝐂𝐊 𝐌𝐀𝐑𝐊𝐄𝐓 𝐌𝐔𝐒𝐈𝐂 🎼✨
𝑺𝒕𝒆𝒇𝒂𝒏 founded 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 with 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 in 1994, when the two crossed paths at London's 𝑺𝒐𝒖𝒕𝒉 𝑲𝒆𝒏𝒔𝒊𝒏𝒈𝒕𝒐𝒏 station. They had been schoolmates in Luxembourg, but had not exchanged a word until that moment when they recognized each other. 𝑴𝒐𝒍𝒌𝒐, realizing that 𝑺𝒕𝒆𝒇𝒂𝒏 had a guitar with him, invited him to see a performance of his. Thus was born 𝑨𝒔𝒉𝒕𝒓𝒂𝒚 𝑯𝒆𝒂𝒓𝒕 - the band's original name, taken from 𝑪𝒂𝒑𝒕𝒂𝒊𝒏 𝑩𝒆𝒆𝒇𝒉𝒆𝒂𝒓𝒕.


Besides to being half composer with 𝑩𝒓𝒊𝒂𝒏 of most of 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's catalog, 𝑶𝒍𝒔𝒅𝒂𝒍 was also involved in the production of 𝑩𝒍𝒂𝒄𝒌 𝑴𝒂𝒓𝒌𝒆𝒕 𝑴𝒖𝒔𝒊𝒄, the album that exactly twenty years ago marked the introduction of more electronic sounds in the band's arsenal, evident in the tracks that close the album such as "𝑯𝒂𝒆𝒎𝒐𝒈𝒍𝒐𝒃𝒊𝒏", "𝑵𝒂𝒓𝒄𝒐𝒍𝒆𝒑𝒕𝒊𝒄" or "𝑷𝒆𝒆𝒑𝒊𝒏𝒈 𝑻𝒐𝒎". Here, for 𝑷𝒆𝒓𝒔𝒐𝒏𝒂𝒍 𝑺𝒕𝒆𝒓𝒆𝒐, 𝑺𝒕𝒆𝒇𝒂𝒏 selects the five albums that changed his life and have influenced his own work.


💿𝟏. 𝐃𝐞𝐩𝐞𝐜𝐡𝐞 𝐌𝐨𝐝𝐞: 𝐕𝐢𝐨𝐥𝐚𝐭𝐨𝐫 (1990) 🎶
▶️ https://spoti.fi/3keTANA

🎤 I heard 𝑽𝒊𝒐𝒍𝒂𝒕𝒐𝒓 for the first time while I was kissing my high school girlfriend. I was sixteen and we were in her room. My favorite songs are "𝑾𝒐𝒓𝒍𝒅 𝑰𝒏 𝑴𝒚 𝑬𝒚𝒆𝒔" and "𝑬𝒏𝒋𝒐𝒚 𝑻𝒉𝒆 𝑺𝒊𝒍𝒆𝒏𝒄𝒆". It's an album that is already a classic, that's where they started using guitars and combining them with their synthesizer sound, something they hadn't done in the ten years they had been a band. I like it because they write dark lyrics, and that's why they are best listened to at night. This album also became the soundtrack to the moment when I was coming to terms with my identity and my sexuality. It was a very troubling and emotional time in my life, and 𝑫𝒆𝒑𝒆𝒄𝒉𝒆 𝑴𝒐𝒅𝒆's music helped me deal with some very dark feelings. I've always wanted to emulate that simplicity and style of songwriting in all the musical projects I've been in. 𝑽𝒊𝒐𝒍𝒂𝒕𝒐𝒓 is their most concise and most sublime album, and it's the pinnacle of synth pop.

Photo credit unknown

💿𝟐. 𝐒𝐨𝐧𝐢𝐜 𝐘𝐨𝐮𝐭𝐡 – 𝐆𝐨𝐨 (1990) 🎶
▶️ https://spoti.fi/3qdeDUz

🎤 I first heard 𝑮𝒐𝒐 in London in 1994 in a social housing apartment and that's when 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 put this record on to show me. 𝑮𝒐𝒐 changed the way I saw guitar music until then. My favorite songs are "𝑻𝒖𝒏𝒊𝒄 (𝑺𝒐𝒏𝒈 𝒇𝒐𝒓 𝑲𝒂𝒓𝒆𝒏)" and "𝑴𝒊𝒍𝒅𝒓𝒆𝒅 𝑷𝒊𝒆𝒓𝒄𝒆". They approach their guitars in a pretty punk way, uninterested in all the standard chord shapes and tunings, even creating their own sound passages, almost melodies made with feedback, which is usually seen as just noise or an unwanted by-product of playing electric guitar. Often, when I'm composing something on guitar and I feel that I like what I'm doing, I end up realizing that I'm playing something that 𝑺𝒐𝒏𝒊𝒄 𝒀𝒐𝒖𝒕𝒉 had already done (laughs). This is their most punkish expression, more melodic but also more abrasive.


💿𝟑. 𝐀𝐁𝐁𝐀 – 𝐓𝐡𝐞 𝐕𝐢𝐬𝐢𝐭𝐨𝐫𝐬 (1981) 🎶
▶️ https://spoti.fi/3C3fc5H

🎤 I first heard 𝑻𝒉𝒆 𝑽𝒊𝒔𝒊𝒕𝒐𝒓𝒔 on my parents' record player when I was a kid in the suburbs of Stockholm. They had parties on Saturdays and invited all their friends, who came to eat, drink and dance. My favorite song is "𝑻𝒉𝒆 𝑫𝒂𝒚 𝑩𝒆𝒇𝒐𝒓𝒆 𝒀𝒐𝒖 𝑪𝒂𝒎𝒆". I love that analog pop sound, and I can just imagine the magnetic tape spinning as 𝑩𝒋𝒐̈𝒓𝒏 and 𝑩𝒆𝒏𝒏𝒚 (the 𝑩's of 𝑨𝑩𝑩𝑨) sit at an old console, putting the finishing touches to that mix, with all the amazing backing vocals and those keyboards and guitars that fit so perfectly. They write perfect pop free of fat and that sounds warm. I have a ritual of dancing to 𝑨𝑩𝑩𝑨, but only for my birthday. They're a bit like cake to me, they're great for once in a while, but if it's too much I don't feel very good. Sometimes I find I do bass lines that remind me of some of their vocal melodies, as the talent they have for hooks is amazing. That's their last album and also the darkest and most melancholic, and that's an emotion that they deal with in a very beautiful way.


💿𝟒. 𝐓𝐡𝐞 𝐁𝐞𝐚𝐭𝐥𝐞𝐬 – 𝐑𝐞𝐯𝐨𝐥𝐯𝐞𝐫 (1966) 🎶
▶️ https://spoti.fi/3q8lVc6

🎤 I first heard 𝑻𝒉𝒆 𝑩𝒆𝒂𝒕𝒍𝒆𝒔' 𝑹𝒆𝒗𝒐𝒍𝒗𝒆𝒓 when I was a thirteen year old teenager, smoking a bunch of cigarettes with a friend in my room after school. My favorite song is "𝑻𝒐𝒎𝒐𝒓𝒓𝒐𝒘 𝑵𝒆𝒗𝒆𝒓 𝑲𝒏𝒐𝒘𝒔". 𝑹𝒆𝒗𝒐𝒍𝒗𝒆𝒓 was my introduction to 60s psychedelic pop. Here there are things like songs where the sitar is the main instrument, and others about life being nothing more than a dream. They were experimenting with recording techniques and sounds, and they were very adventurous with the structures of these songs. I listen to this album and it sounds timeless to me, every time I listen to it I discover new subtleties, even though it was only recorded on four tracks. There are lessons to be learned here, about melody and making a personal musical statement in two minutes. Most of the songs are only that long.

Photo credit: Javier Alonso and Marina Sanz

💿𝟓. 𝐐𝐮𝐞𝐞𝐧𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐒𝐭𝐨𝐧𝐞 𝐀𝐠𝐞 – 𝐒𝐨𝐧𝐠𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐝𝐞𝐚𝐟 (2002) 🎶
▶️ https://spoti.fi/3mSyc24

🎤 I went to 𝑻𝒐𝒘𝒆𝒓 𝑹𝒆𝒄𝒐𝒓𝒅𝒔 in London the same day 𝑺𝒐𝒏𝒈𝒔 𝑭𝒐𝒓 𝑻𝒉𝒆 𝑫𝒆𝒂𝒇 was released, in 2002. I went straight to my house so I could listen to it. My favorite song here is "𝑮𝒐 𝑾𝒊𝒕𝒉 𝑻𝒉𝒆 𝑭𝒍𝒐𝒘". This album made me feel the thrill of being in a rock band again. It's sexy, it's hard, it's melodic, it's motivating and it's as cool as 𝑱𝒐𝒔𝒉 𝑯𝒐𝒎𝒎𝒆 himself. He's like a modern 𝑬𝒍𝒗𝒊𝒔, and he's a huge influence on me as a person and as a musician. I was fortunate to be on tour with him when 𝑸𝒖𝒆𝒆𝒏𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑺𝒕𝒐𝒏𝒆 𝑨𝒈𝒆 released this record and I think I just wanted whatever they inspired me to do. Having 𝑫𝒂𝒗𝒆 𝑮𝒓𝒐𝒉𝒍

on drums is something that separated this record from the others, he is a very accomplished rock drummer with good taste.✪


✒️𝙾𝚛𝚒𝚐𝚒𝚗𝚊𝚕 𝚃𝚎𝚡𝚝: 𝑁𝑢𝑛𝑜 𝑉𝑒𝑙𝑜𝑠𝑜 04.03.2020
▪️𝚂𝚘𝚞𝚛𝚌𝚎: 𝑙𝑎𝑡𝑒𝑟𝑐𝑒𝑟𝑎.𝑐𝑜𝑚
▪️𝚃𝚛𝚊𝚗𝚜𝚕𝚊𝚝𝚒𝚘𝚗 𝚏𝚛𝚘𝚖 𝚂𝚙𝚊𝚗𝚒𝚜𝚑: 𝑅𝑖𝑡𝑎 𝑀𝑜𝑙𝑘𝑜 𝑑𝑒 𝐿. 𝑓𝑜𝑟 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐴𝑛𝑦𝑤𝑎𝑦

Post by Rita

𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐰𝐢𝐭𝐡 𝐅𝐈𝐎𝐍𝐀 𝐁𝐑𝐈𝐂𝐄 - Placebo Project 2016

𝑫𝒆𝒂𝒓 𝒔𝒐𝒖𝒍𝒎𝒂𝒕𝒆𝒔!
I want to dedicate my today’s post to wonderful Fiona Brice who was Placebo touring member for almost 10 years. Talented composer and beautiful lady, she keeps moving on with her musical career and treasures lots of memories of her time with Placebo.
▪️In the 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 from 2016, Fiona tells about her solo album "Postcards From", remembers how she met the guys and started working with them, shares her thoughts of how being constantly on tour influenced her private life.

Enjoy reading and be sure to check out the remix of Fiona’s track 𝐃𝐚𝐥𝐥𝐚𝐬 by DIGITAL 21 + STEFAB OLSDAL.

Photo credit: Emilie Bailey

🌟𝐏𝐋𝐀𝐂𝐄𝐁𝐎 𝐀𝐑𝐄 𝐕𝐄𝐑𝐘 𝐒𝐔𝐏𝐏𝐎𝐑𝐓𝐈𝐕𝐄 𝐎𝐅 𝐖𝐎𝐌𝐄𝐍 𝐈𝐍 𝐓𝐇𝐄 𝐈𝐍𝐃𝐔𝐒𝐓𝐑𝐘🌟
𝐀𝐧𝐚𝐬𝐭𝐚𝐬𝐢𝐲𝐚 𝐋𝐨𝐠𝐢𝐧𝐨𝐯𝐚: Fiona, firstly, I want to congratulate you with a release of your debut album 'Postcards from'. I listened to it. The album sounds fantastic! I would like to know: what experience did you get from writing and recording of this album? What was the most difficult for you in this work?

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: "Postcards From" is like a travel diary, each track is a snapshot of my mood in each place. I travel so much that finding the inspiration and time to write the music down is like finding shelter in a storm. I did not initially set out to write an album, I was just writing all the time and then I realised that these tracks had a common theme and made sense together. Writing and recording the music was the easy part. Getting signed and getting the record released was more difficult, but I am delighted that it is being released by Bella Union Records, I have worked with several of their artists in the past (John Grant, Midlake, Stephanie Dosen, Roy Harper) and it feels like the perfect label for me.

𝐀𝐋: Will your album be out on the cd/vinyl? What do you think about music on CDs or vinyl records nowadays? Do you buy CDs or vinyl of your favourite bands/musicians?

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: The album is available on all formats: vinyl, CD and digital. In fact, some of the vinyl copies contain personal messages from me, so people will get a nice surprise when they open the package. I buy music digitally because it is the easiest way to listen to music on tour, but I believe that most music sounds better on vinyl and my Dad just gave me his old record player from the 60s so I can listen to vinyl when I am at home. I do occasionally use streaming sites too but I don't really like to do this because they pay the musicians so badly.

𝐀𝐋: Are you going to play gigs with this music? Are you going to present the album?

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: Yes! I played my first gig last week in London. I performed solo with violin and effects pedals, and I am supporting The Anchoress on 15th June at the Bush Hall, London. There will be more dates too. Performing solo means the music can have a spontaneous and improvised feel, it is quite hypnotic and relaxing. I do want to do some bigger shows with grand piano, strings and video projection, but I have to find funding or sponsorship to make this happen.

Photo credit unknown

𝐀𝐋: Let's talk about your work with Placebo. How did you meet with the band? When did you start work together?

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: I met Brian and Stefan in the late 90s when we were all living in London. I was at University and was playing with Dream City Film Club at the time. We have a lot of friends in common, we used to see each other at parties. I first worked with them as orchestral arranger on the Meds album, and I have contributed to all of the albums since then.

𝐀𝐋: I suppose that playing in a band like Placebo is a huge responsibility for a musician. What did you feel when it was your first gig with the band? Where did you play this show?

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: Yes it is a high pressure gig because in addition to the fact that you are playing live to 1000s of people, it is also being recorded, filmed, maybe broadcast on TV or radio at the same time.. there is no room for error, there are cameras and microphones and faces everywhere you turn. I also feel a responsibility towards the fans. They are paying good money for tickets and you never want to deliver a bad performance. My first Placebo gig was the 'Live at Angkor Wat' performance for MTV Exit. A very significant gig for my 'first time'! I was nervous about it but we rehearsed for two weeks, there was plenty of time to work out what we were doing, and it turned out to be an amazing experience.

𝐀𝐋: What's about your impressions of the collaboration with guys? What did you learn from being a touring member of the band? Maybe it has changed you?

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: I enjoy collaborating with Brian and Stef because they are talented musicians with clear ideas about what they want. They are supportive of my solo record too. Actually Stefan has remixed a track for me.

Photo credit unknown

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞 - 𝐃𝐚𝐥𝐥𝐚𝐬 (𝐫𝐞𝐦𝐢𝐱 𝐛𝐲 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝟐𝟏 + 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥)
🎶 https://bit.ly/39zV4xl

Touring has changed me, inevitably. I am less content to just sit at home, I am always ready for the next move. It has been quite disruptive in my personal life (I have been engaged, married and divorced whilst on tour in the last 8 years!) but it has given me a more global view. It has opened my eyes to other people's lives in this world, and reinforces my belief that fundamentally we are all one, all equal, regardless of gender, race, sexuality or nationality.

𝐀𝐋: You are the only woman in Placebo band. What do you think at all about women in the music industry, not only like musicians, but also like managers, concert promoters? Some people suppose that this work is so hard and it is only for men, women have no place here. What's your opinion?

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: Women make up at least 50% of the population and they should be able to do whatever work they are inspired to do, in any industry. I am just doing what I want to do with my life. Looking back on when I was younger, I realise now the times when men tried to shape me, to tell me what to do, to tell me that they knew best. Sometimes I was too weak to argue my case, and that was my mistake, not theirs. You need to be strong-willed and able to speak up for yourself. Placebo are very supportive of women in the industry. I am the only woman on stage but the band have a female manager, we have female crew members in various jobs (wardrobe, video, catering, tour management, finance, photography). Decide what you want to do, get qualified, get good at it and get on with it, that would be my advice.

𝐀𝐋: What do you expect from the world tour '20 years of Placebo'? Russian fans are looking forward to the shows! :)

𝐅𝐢𝐨𝐧𝐚 𝐁𝐫𝐢𝐜𝐞: I am expecting some excited crowds and a huge celebration of massive hits from a massive career! I haven't seen the proposed setlist yet but I look forward to getting into rehearsals and working on the songs so we can give the fans the best show possible.
(𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝑆𝑡𝑜𝑟𝑦 𝑃𝑟𝑜𝑗𝑒𝑐𝑡, 2016)

Photo credit: viplive.tk

Post by Olga

DIGITAL 21 - Interview with Radio 3, part 2

𝑯𝒆𝒍𝒍𝒐 𝑻𝒉𝒆𝒓𝒆!

As I promised you last week, here is the second part of the English translation of the interview that 𝑱𝒖𝒍𝒊𝒐 𝑹𝒖𝒊𝒛 did to 𝑫𝒊𝒈𝒊𝒕𝒂𝒍21 + 𝑺𝒕𝒆𝒇𝒂𝒏𝑶𝒍𝒔𝒅𝒂𝒍 on the "𝑫𝒊𝒔𝒄𝒐 𝑮𝒓𝒂𝒏𝒅𝒆" show of 𝑹𝒂𝒅𝒊𝒐 3 (Spain), on November 6, 2020, to introduce their new project and first album as 𝑴𝒂𝒅𝒆 𝑭𝒐𝒓 𝑯𝒖𝒎𝒂𝒏𝒔.

🔹𝑰𝒇 𝒚𝒐𝒖 𝒎𝒊𝒔𝒔𝒆𝒅 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒑𝒂𝒓𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒊𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘 𝒐𝒓 𝒊𝒇 𝒚𝒐𝒖 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒔𝒆𝒆 𝒘𝒉𝒆𝒓𝒆 𝒘𝒆 𝒍𝒆𝒇𝒕 𝒐𝒇𝒇, 𝒚𝒐𝒖 𝒄𝒂𝒏 𝒇𝒊𝒏𝒅 𝒊𝒕 𝒉𝒆𝒓𝒆: https://bit.ly/2ULBTIc

💫𝘕𝘰𝘸, 𝘭𝘦𝘵'𝘴 𝘬𝘦𝘦𝘱 𝘳𝘦𝘢𝘥𝘪𝘯𝘨!💫

✨👽 𝙈𝙖𝙙𝙚 𝙁𝙤𝙧 𝙃𝙪𝙢𝙖𝙣𝙨 - 𝙄𝙣𝙩𝙚𝙧𝙫𝙞𝙚𝙬 𝙊𝙣 "𝘿𝙞𝙨𝙘𝙤 𝙂𝙧𝙖𝙣𝙙𝙚" 𝙍𝙖𝙙𝙞𝙤 𝟯 🚀 𝙋𝙖𝙧𝙩 𝙄𝙄 ⭐✨

𝐉𝐮𝐥𝐢𝐨: Perhaps the message could be that, which I think you have expressed at some point, of some phrase made from the release of the album: "air to breathe ", and that we have to take care of our planet.
Stefan, The image on the album cover means something too, doesn't it?

𝐒𝐭𝐞𝐟𝐚𝐧: Yes, I think we are very interested in where the planet is located in the universe and also the people, that we are each one, a universe in itself, right? And play a little with the image of so much space that there is and also that now we can't travel. So it's been kind of symbolic to be able to travel, if not physically, well, in the mind.

𝐉𝐮𝐥𝐢𝐨: Miguel, also when we see a concert of Made For Humans, that there are dates out there in Russia, in Ukraine, they were going to have played at Sonorama (festival)... and I imagine that the thing will remain for 2021. Do these Made For Humans concerts also have an audiovisual component?

𝐌𝐢𝐠𝐮𝐞𝐥: Well, that remains to be seen because we really had ... is what you say, all the festivals last summer have messed up -for us, from all over the world, of course- and we were hoping that earlier this year we were going to do a concert in London, which would be a very special concert because it was a double concert. It was a Digital 21 + Stefan Olsdal concert, but it was also a Made For Humans concert, we were going to be the opening act for ourselves (says Miguel with a little laugh). So, it would be a beautiful concert in which we were going to be able to put together the repertoire because we haven't seen each other. So, as the situation has arisen again, we had to suspend it because we didn't dare to publish the sale of the tickets, that the tickets were sold and... At the last concert in London, that was in November last year and it was very very beautiful, people came from all over Europe, people came from Italy, from Germany, from France, it was very beautiful. We did an after party and we met people there and it was very nice to see the people who have traveled so much. And it was a very dangerous situation, to take out the tickets that people were going to buy, invest their money, buy a ticket and then, unintentionally, but they lost their money. So we have preferred to hold on and wait until the summer,when we hope the situation is resolved. So, we have the Sonorama and also the festival in Russia and some other festival, hehe.

𝐉𝐮𝐥𝐢𝐨: For those live shows, Stefan, everything is easier because here (with Made For Humans) you don't get to join up to eight (people) on stage, as it has been, but you two with your pots and that's it, nobody else, right?

𝐒𝐭𝐞𝐟𝐚𝐧: Hmm… well, that's what we say now but everything can change.
Hahahaha (everyone)

𝐌𝐢𝐠𝐮𝐞𝐥: Yes!

𝐒𝐭𝐞𝐟𝐚𝐧: Knowing ourselves, there is always one more layer to add, to do. Well, in the end, it is to make a more explained experience for the public and there we will try. So, if we can do something more special with, I don't know, more machines or more people, well, we will use them…

𝐌𝐢𝐠𝐮𝐞𝐥: Totally!

𝐒𝐭𝐞𝐟𝐚𝐧:...but so far the project we have is in the studio, it's only two, but as I said, everything can change.

𝐌𝐢𝐠𝐮𝐞𝐥: Yes, yes.

𝐉𝐮𝐥𝐢𝐨: And what is better: outdoors. Well, now speaking precisely about this health situation. Maybe the ideal thing for this music would be outdoors, even if it was raining cats and dogs and even if it was bitterly cold, but the ideal thing for this music would be an auditorium, a theater, people sitting, which is also becoming a classic now, the people sitting in the few concerts there are, isn't it Miguel?

𝐌𝐢𝐠𝐮𝐞𝐥: Yes, the truth is that our first concert as Digital21 and Stefan Olsdal was in Gran Vía, in the Telefónica Auditorium and it was the first in an auditorium with everyone sitting, a deathly silence, one of those silences that are very beautiful for music and that for this music... I mean, at that time it was very exciting with the songs on "Inside", but with this music, with the silences that there are many times between chord and chord or between note and note, it would be very very nice if we could take it to an auditorium, yes.

𝐉𝐮𝐥𝐢𝐨: Pepa Calzada is going to hit the key, "Open Forest" is going to sound and now we are going to finish the talk with Made For Humans.

✨(𝑺𝒕𝒂𝒓𝒕𝒔 𝒕𝒐 𝒑𝒍𝒂𝒚 "𝑶𝒑𝒆𝒏 𝑭𝒐𝒓𝒆𝒔𝒕")✨
🎶 https://youtu.be/cPjtlDcZOIA 🎶

𝐉𝐮𝐥𝐢𝐨: I ask a few more little questions to my guests at a distance, today Stefan Olsdal / Placebo from London, from Madrid, Miguel / Digital 21.
Stefan, The second album of the other project is ready, right? In what will look or stop looking like "Complex" to "Inside"?

𝐒𝐭𝐞𝐟𝐚𝐧: Good question. Well, we always continue with… well, there are two of us, me and Miguel making the music, so it's not going to be totally different from "Inside", but it's like an evolution. Maybe… well, it's hard to say… It's a better record! hahaha.

𝐉𝐮𝐥𝐢𝐨: And, as in the case before, when I said if "Open Forest" gave an idea of ​​what this album was - "Open Forest" which is still playing in the background - those two songs that you have already released Miguel, "High In The Sky" and "The New Thing", also give an idea of ​​what "Complex" is going to be?

𝐌𝐢𝐠𝐮𝐞𝐥: Buff! ehh.. yes, in a certain way yes, because it's clear that it is a forceful album and at the same time preserves the arrangements of classical instruments, as in "High in the Sky", the church organ. Ehmm ... maybe at times it has some more club element and at times it's more forceful… It’s hard to say, for me it's hard to say, I agree with Stefan… At first I thought that "Inside" was there, that overwhelmed me a lot, but I think it is at least like "Inside" or better. Today, I like it more than "Inside" because it's the new one, right? It's ready to go, but like he (Stefan) said, it's hard for us to tell, It's a session too close to see. What is clear is that we are very happy with the result and that is very difficult because a second album is always more overwhelming than the first one and the third, I think, at least is what I have seen in my life with my own albums and also with the albums of others. Always the second album is the most overwhelming and in that sense this album, we both are very happy with it, so that's the most important thing.

𝐉𝐮𝐥𝐢𝐨: Stefan, And have you dared to sing a little more or not? Or well, to sing? Haha.

𝐒𝐭𝐞𝐟𝐚𝐧: Haha, well I think so! :) I think that we both appear singing more on that album and ehhh ... maybe now we have both bands, let's say, we can push more to one extreme or the other, with the main band and Made For Humans. But yes, there were quite a few guest vocalists on the album "Inside" and on this one, yes, there are still, but also Miguel and I sang more.

𝐉𝐮𝐥𝐢𝐨: Notice, Stefan, what I didn't know is that, before you met Brian and started the Placebo adventure, your very first story was precisely that, more or less, the electronic world. However, I met Miguel doing something else that was not what he later did with Digital 21; That is, you both have arrived at the same place but by different paths!

𝐒𝐭𝐞𝐟𝐚𝐧: Ha, well, yeah, yeah, I don't know... It's that the music takes you and no.. you can't control it. And well, starting with 13 or 12 years that I had, playing the drums and then the guitar and then I paid a lot of attention to electronic music and then I started my band, Placebo, which is more with guitars and then I don't know ... It's that music takes you and ...

𝐉𝐮𝐥𝐢𝐨: Sure.

𝐒𝐭𝐞𝐟𝐚𝐧: ... yeah, here we are now, Miguel and I, after so many years doing other new adventures :) haha.

𝐉𝐮𝐥𝐢𝐨: Yes. Pepa, let "Hikikomori" begin to play while we are finishing the talk with our protagonists, who are here today on "Disco Grande" Radio 3, Made For Humans.

✨🎶(𝑺𝒕𝒂𝒓𝒕𝒔 𝒕𝒐 𝒑𝒍𝒂𝒚 "𝑯𝒊𝒌𝒊𝒌𝒐𝒎𝒐𝒓𝒊")🎶✨
https://youtu.be/IybWBFw6tDs

𝐉𝐮𝐥𝐢𝐨: Ehhh… Short question and short answer. Miguel, What do you like the most? Remix or be remixed?

𝐌𝐢𝐠𝐮𝐞𝐥: Remix us! We remixed Timo Maas not much ago and it was a very nice experience. Also, Timo really liked the remix and it was really nice. :)

𝐉𝐮𝐥𝐢𝐨: Well Stefan, also short question and short answer. Notice how serious I am that at minute 58 of the program I ask you: When are we going to know something new about Placebo? Because this interview is with Made For Humans ;) Haha.

𝐒𝐭𝐞𝐟𝐚𝐧: Yes. Well we are already finishing the album with Placebo, so next year it comes out.

𝐉𝐮𝐥𝐢𝐨: Next year, you will have a bunch of work next year!

𝐌𝐢𝐠𝐮𝐞𝐥 & 𝐒𝐭𝐞𝐟𝐚𝐧: Hahaha.

𝐉𝐮𝐥𝐢𝐨: You will not cope! Haha

𝐌𝐢𝐠𝐮𝐞𝐥: Totally!

𝐉𝐮𝐥𝐢𝐨: Well Miguel, Stefan, thank you very much for being there. It is always a pleasure that on Radio 3, by extension, on "Disco Grande" and in other programs, you always keep us up to date with your adventures. Congratulations on your work and looking forward to giving you a hug the next time we meet. Thank you so much. Regards.

𝐌𝐢𝐠𝐮𝐞𝐥: Thanks Julio, a hug.

𝐒𝐭𝐞𝐟𝐚𝐧: Thanks to you. Take care, a hug.

✨🎶("𝑯𝒊𝒌𝒊𝒌𝒐𝒎𝒐𝒓𝒊" 𝒌𝒆𝒆𝒑𝒔 𝒑𝒍𝒂𝒚𝒊𝒏𝒈)🎶✨

𝐉𝐮𝐥𝐢𝐨: Made For Humans, today the protagonists in "Disco Grande", four songs from the album have been played in the course of the talk with Stefan Olsdal and Miguel / Digital 21. Pepa Calzada on the other side of the glass at the technical controls... (End of recording) 🎙️▪️

Thank you so much for reading dear Soulmates! Have a wonderful weekend. ☀️
❤️Lots of love & stay safe❤️
🪐𝑹𝒊𝒕𝒂🪐

𝐒𝐨𝐮𝐫𝐜𝐞: https://bit.ly/3luCUA2
𝐓𝐫𝐚𝐧𝐬𝐥𝐚𝐭𝐢𝐨𝐧: 𝑅𝑖𝑡𝑎 𝑀𝑜𝑙𝑘𝑜 𝑑𝑒 𝐿. 𝑓𝑜𝑟 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐴𝑛𝑦𝑤𝑎𝑦.
📸 Photo Credits:
Pic 1 - Javier Alonso and Marina Sanz / Open Forest Screenshot / Edit made by Rita
Live photos - Javier Alonso and Marina Sanz

DIGITAL 21 - Interview with Radio 3, part 1

Today I bring you the English translation of the interview that 𝑱𝒖𝒍𝒊𝒐 𝑹𝒖𝒊𝒛 did with 𝗗𝗶𝗴𝗶𝘁𝗮𝗹 𝟮𝟭 + 𝗦𝘁𝗲𝗳𝗮𝗻 𝗢𝗹𝘀𝗱𝗮𝗹  on the "𝑫𝒊𝒔𝒄𝒐 𝑮𝒓𝒂𝒏𝒅𝒆" show of 𝑹𝒂𝒅𝒊𝒐 3 (Spain), on November 6, 2020, to present the first album of their new project 𝑴𝒂𝒅𝒆 𝑭𝒐𝒓 𝑯𝒖𝒎𝒂𝒏𝒔. Great answers and lots of laughs that those who don't speak Spanish couldn't miss. The whole transcription of the interview is pretty large, so this is the first part and see you next week with the second part. Enjoy reading!

Photo credit: Radio 3

✨👽 𝙈𝙖𝙙𝙚 𝙁𝙤𝙧 𝙃𝙪𝙢𝙖𝙣𝙨 - 𝙄𝙣𝙩𝙚𝙧𝙫𝙞𝙚𝙬 𝙊𝙣 "𝘿𝙞𝙨𝙘𝙤 𝙂𝙧𝙖𝙣𝙙𝙚" 𝙍𝙖𝙙𝙞𝙤 𝟯 🚀⭐✨

𝐉𝐮𝐥𝐢𝐨: Time of "Disco Grande" here on Radio 3. Well, we are at 5:30 in the afternoon. I mean, it is about making the planned dual-band telephone communication with Miguel / Digital 21 and with Stefan Olsdal / Placebo who is in London, so they tell us details of what it is today, November 6, the release of the Made For Humans album.

✨(𝑺𝒕𝒂𝒓𝒕𝒔 𝒕𝒐 𝒑𝒍𝒂𝒚 "𝑨𝒍𝒈𝒆𝒃𝒓𝒂 𝑶𝒇 𝑩𝒆𝒊𝒏𝒈") ✨
🎶 https://youtu.be/aen9FtuIlgg 🎶

𝐉𝐮𝐥𝐢𝐨: There is playing one of the songs that are part of this album that is published today and signed by Made For Humans, the project of Stefan Olsdal / Placebo and Miguel / Digital 21, and I think they are both already calling distance. Stefan, How are you? Hello, good afternoon...

𝐒𝐭𝐞𝐟𝐚𝐧: Hello, good afternoon! How are you?

𝐉𝐮𝐥𝐢𝐨: How about there in London? We are confined, right?

𝐒𝐭𝐞𝐟𝐚𝐧 : Yes, yes at home.

𝐉𝐮𝐥𝐢𝐨: At home. How long have you been at home?

𝐒𝐭𝐞𝐟𝐚𝐧: Well, a couple of days now. It started two days ago.

𝐉𝐮𝐥𝐢𝐨: Two days ago. Yes, yes of course. Now effectively the new regulations regarding confinement and mobility and being able to leave or not, effectively date from two days ago. And you Miguel? Where are you? Around here in Madrid, right?

𝐌𝐢𝐠𝐮𝐞𝐥: Yes, yes in the Madrid studio.

𝐉𝐮𝐥𝐢𝐨: Well, you had to use your good skills to try to locate Stefan who we had lost, right?

𝐌𝐢𝐠𝐮𝐞𝐥: Haha ​​yes. (and he also says one word that I can't make out)

𝐒𝐭𝐞𝐟𝐚𝐧: I am so far away, that's why.

𝐉𝐮𝐥𝐢𝐨: Yeah, yeah, I can imagine. How close I have had you both years ago! When you came to present the first album of your joint project. Stefan, Is it normal for this tributary to come out? This kind of derivation from your other project from 7 years ago?

𝐒𝐭𝐞𝐟𝐚𝐧: Well, ehh.. as two musicians, we always kept doing and writing and we realized that all the music that we were doing didn't square directly with the main band that we have together. And at the same time, with the confinement, the softer music let's say…more without the thing of… well, without the hype, let's say and we also have that side, me and Miguel, so it was like an opportunity to travel in that musical direction.

                  Photo Credit: Konstantin, Javier Alonso and Marina Sanz, edit by Rita

𝐉𝐮𝐥𝐢𝐨: Miguel, in the other (project) were your names, but here, you have given it a name. Why? Why does the other one go with your names in front and here you have put 'Made For Humans'? Which is still a curious name.

𝐌𝐢𝐠𝐮𝐞𝐥: Well, because the other one already existed, so we couldn't given it the name again, of course. We had to look for it ... we had to separate it of course, because it's totally different, but it has many points of union, the strings, everything that are classical nature instruments, do they have in common. But yes, a new name was good for separating it conceptually. Although on the other hand, for example, we don't have "Made For Humans" social networks. Social networks are still "Digital 21 and Stefan Olsdal", or "Digital 21 Instagram" or "Stefan Olsdal Instagram". Our social networks because we didn't want to duplicate our work, all (the work) that comes with social networks, you know? With which it is very close (the band) to us and it is clear that it's a parallel band that we have, but with another name for... well, another label so that the people who follow us know that's where it is the music more... instrumental and the vocal already stays for the main band.

𝐉𝐮𝐥𝐢𝐨: And who comes up with the name?

𝐌𝐢𝐠𝐮𝐞𝐥: Well, we are always talking. We are 1000 percent connected, because even when we have not seen each other for months, we are always sending each other ideas and without stopping to drop some ideas and others. And there were like… I don't know how many names! and there were fifty names and in the end, well, it was to find one...

𝐉𝐮𝐥𝐢𝐨: Don't tell me more, you put “Made“ and Stefan put “Humans“!
Hahahaha (laughs everyone)

𝐌𝐢𝐠𝐮𝐞𝐥: Totally! hahaha.

𝐉𝐮𝐥𝐢𝐨: Stefan, this is good because we no longer have to sing. Which I think is even - -but in the final stretch of the talk, we will enter the field of the other project because here we are talking about this- we no longer have to sing or hire voices to sing, right? More comfortable, right?

𝐒𝐭𝐞𝐟𝐚𝐧: Haha, well it is a bit difficult to do collaborations now haha. And yes, the feeling we had in those months was more to travel, a little more... more abstract, let's say, than music with voice.

𝐉𝐮𝐥𝐢𝐨: Miguel, Are the songs of one project valid for the other or vice versa? Maybe it happens that a song from the other project we take away a bit of lyrics and we transform it into instrumental. Although you already said beforehand, 'well if we do this instrumental project it is precisely to differentiate it from the other', right?

𝐌𝐢𝐠𝐮𝐞𝐥: Of course. The truth is that we didn't need it because during the confinement we made at least 20 songs, so, there is this album but there are more songs in the breech. There has only been one song that has traveled from one project to another, which is "Hikikomori", which I think you have there...

𝐉𝐮𝐥𝐢𝐨: Yes, yes it is with which we will finish the talk, yes…

𝐌𝐢𝐠𝐮𝐞𝐥: Well, because that's going to be the b-side of the single that comes out on November 20, but the rest of the songs are all new, composed right in the confinement and the truth it was not needed (to take songs from the other project).

𝐉𝐮𝐥𝐢𝐨: Sure. Stefan, after seven years and almost twenty that you know each other; Let's say, one hits the key in one part of the world and the other hits the key in the other part of the world, and let's go. As if there were telepathy! Isn't it? In the connection…

𝐒𝐭𝐞𝐟𝐚𝐧: Yes and that coupled with the miracle of technology. The technological revolution that we are experiencing now and that is wonderful for us.

𝐉𝐮𝐥𝐢𝐨: Miguel, having a studio at home helps. Now that nobody can hear us: Who has the coolest studio? Does Stefan have it or do you have it?
Hahahaha (everyone)

𝐌𝐢𝐠𝐮𝐞𝐥: Let's see, Stefan's studio is cooler because it is in a mega house that is much cooler and with a mega family, because he has a family. And mine is less cool because I'm speaking from the studio, I live in the studio, which is a room. And so I don't even have a family, my family is in Malaga - my parents - but I mean, I don't live with a family which is less and I don't have the studio inside a house, I live directly in the studio, they are different things.

𝐒𝐭𝐞𝐟𝐚𝐧: Yes, but I wanted to tell Miguel, that what he says is not true because he has a white studio and mine is all in black, so it's like Yin and Yang, hahaha so one doesn't work without the other!

𝐌𝐢𝐠𝐮𝐞𝐥: That's true! :) Hahaha.

𝐒𝐭𝐞𝐟𝐚𝐧: The parts are equal.

𝐉𝐮𝐥𝐢𝐨: And are you jealous, each one of your property, as far as the studio is concerned? When Stefan has been in Miguel's studio, we have already said that it is a house-studio, and Miguel has been in Stefan's palace, we have already said that it is not a house only. Maybe someone wants to put his hands on and touch a button and say "take off, don't touch there!", or let him do it?

𝐌𝐢𝐠𝐮𝐞𝐥: The truth is not because, note that sometimes when I go to London, we are recording and all this, because usually they want me to stay in a room of the house and usually I stay inside the studio, you know? I mean, because I feel better there and he leaves me there in the studio, hahaha to spend the night there. And it's the closest thing to being in my house, being in a studio and well, besides it's also bigger.

𝐒𝐭𝐞𝐟𝐚𝐧: What happens is that I have to sleep for at least five or six hours every night but Miguel doesn't, so I leave him in the studio because there he is engrossed and there he can work all night.
Hahahaha (everyone)

𝐉𝐮𝐥𝐢𝐨: See how we are finding out more about that project. It was logical that in the end, for so long that they have known each other, they would end up precisely in the other project seven years ago and in this one here today, on Disco Grande Radio 3 presenting their songs, remote conversation with Made For Humans.

✨(𝑺𝒕𝒂𝒓𝒕𝒔 𝒕𝒐 𝒑𝒍𝒂𝒚 "𝑳𝒊𝒒𝒖𝒊𝒅 𝑴𝒐𝒐𝒏")✨
🎶 https://youtu.be/NKJvOqCrXzc 🎶

𝐉𝐮𝐥𝐢𝐨: What is playing is "Liquid Moon", another of the songs included in the Made For Humans presentation album. Now when we make the next stop in the talk, "Open Forest" will sound…
Stefan, Did you want it to be precisely that song that was played afterwards, the one that you released at the beginning as a sample, so that the staff would have an idea of ​​everything, of everything that was going to be on the album?

𝐒𝐭𝐞𝐟𝐚𝐧: Hmm… it’s that the songs have a tendency, yes to us, the order… and I do not know, is like a feeling... to follow a feeling and that song that follows sounds very good after "Open Forest". It is another side of sound and the other side of emotions and sounds that we want to convey.

𝐉𝐮𝐥𝐢𝐨: There are no lyrics, Miguel, in the songs, but there is a kind of vindication. It can be done, I don't know! A call to something that is out there and we want it to be better without the need for lyrics? Maybe music is enough.

𝐌𝐢𝐠𝐮𝐞𝐥: Yes, I think we over the years -because as you say, we knew each other a thousand years ago- we have always been talking about this crazy thing that happens in the world, right? That the human being is taking his own oxygen with which he has to breathe and that it is crazy to think for example, that most of the fires (forest) are caused worldwide. And the human being has to breathe the air that is being eliminated. So both "Open Forest" and many of the songs on the album, because we chose titles that had to do with that or that had inspired us.
The album I believe that by making instrumental music we have connected with our feelings more and also with nature and the world around us. Or maybe it was the moment we were… We were talking that we were at the moment most... because we really started recording the album almost in the middle of March, that is when everything started, all this madness that still continues. So I think it has been reflected in all those things that we both felt at the time and also that we both have been thinking about for a long time.

✨ 𝑻𝒐 𝒃𝒆 𝒄𝒐𝒏𝒕𝒊𝒏𝒖𝒆𝒅… 

𝐒𝐨𝐮𝐫𝐜𝐞: https://bit.ly/3luCUA2
𝐓𝐫𝐚𝐧𝐬𝐥𝐚𝐭𝐢𝐨𝐧: 𝑅𝑖𝑡𝑎 𝑀𝑜𝑙𝑘𝑜 𝑑𝑒 𝐿. 𝑓𝑜𝑟 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐴𝑛𝑦𝑤𝑎𝑦.
Live photos by  Javier Alonso and Marina Sanz

Post by Rita