馃尃 饾槒饾槮饾槶饾槶饾槹 饾槬饾槮饾槩饾槼 饾槾饾槹饾樁饾槶饾槷饾槩饾樀饾槮饾槾!
Today I bring you the translation of the interview with 饾懌饾拪饾拡饾拪饾挄饾拏饾拲 饾煇饾煆 + 饾懞饾挄饾拞饾拠饾拏饾拸 饾懚饾拲饾挃饾拝饾拏饾拲 that the Spanish independent music magazine 饾懘饾拹饾拸饾拝饾拹饾懞饾拹饾拸饾拹饾挀饾拹 published a few days ago, where they talked about their new album "饾應饾拹饾拵饾拺饾拲饾拞饾挋" as well as many details of their joint projects and if they will collaborate with 饾懇饾挀饾拪饾拏饾拸 饾懘饾拹饾拲饾拰饾拹 on a song one day. 馃憖 Enjoy reading. 馃槈
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| Photo credit: Javier Alonso & Marina Sanz |
馃挮⭐ "饾檼饾櫄 饾櫖饾櫀饾櫍饾櫓 饾櫓饾櫎 饾櫂饾櫑饾櫄饾櫀饾櫓饾櫄 饾櫀 饾櫖饾櫎饾櫑饾櫋饾櫃 饾櫓饾櫇饾櫀饾櫓 饾櫅饾櫄饾櫄饾櫋饾櫒 饾櫋饾櫈饾櫊饾櫄 饾櫎饾櫔饾櫑饾櫒" ⭐馃挮
饾槇饾槯饾樀饾槮饾槼 饾槪饾槮饾槳饾槸饾槰 饾槯饾槹饾槼饾槫饾槮饾槬 饾樀饾槹 饾槬饾槮饾槶饾槩饾樅 饾槳饾樀饾槾 饾槼饾槮饾槶饾槮饾槩饾槾饾槮 饾槾饾槮饾樂饾槮饾槼饾槩饾槶 饾樀饾槳饾槷饾槮饾槾, 饾構饾槳饾槰饾槳饾樀饾槩饾槶 21 & 饾槡饾樀饾槮饾槯饾槩饾槸 饾槚饾槶饾槾饾槬饾槩饾槶 饾槱饾槩饾樂饾槮 饾槯饾槳饾槸饾槩饾槶饾槶饾樅 饾槼饾槮饾槶饾槮饾槩饾槾饾槮饾槬 '饾槉饾槹饾槷饾槺饾槶饾槮饾樄' (饾槇饾槥饾槇饾槗, 21), 饾樀饾槱饾槮 饾槾饾槮饾槫饾槹饾槸饾槬 饾槩饾槶饾槪饾樁饾槷 饾槹饾槯 饾樀饾槱饾槮饾槳饾槼 饾槴饾槹饾槳饾槸饾樀 饾槺饾槼饾槹饾槴饾槮饾槫饾樀. 饾槥饾槮 饾槫饾槹饾槸饾樀饾槩饾槫饾樀饾槮饾槬 饾槪饾槹饾樀饾槱 饾槹饾槯 饾樀饾槱饾槮饾槷 饾樂饾槳饾槩 饾樆饾槹饾槹饾槷, 饾樀饾槹 饾槾饾槮饾樀 饾樁饾槺 饾槩 饾樀饾槱饾槼饾槮饾槮-饾樃饾槩饾樅 饾槳饾槸饾樀饾槮饾槼饾樂饾槳饾槮饾樃 饾樀饾槱饾槩饾樀 饾樀饾槱饾槮 饾槷饾樁饾槾饾槳饾槫饾槳饾槩饾槸饾槾 饾槩饾槸饾槾饾樃饾槮饾槼 饾槯饾槼饾槹饾槷 饾樀饾槱饾槮饾槳饾槼 饾槼饾槮饾槾饾槺饾槮饾槫饾樀饾槳饾樂饾槮 饾槾饾樀饾樁饾槬饾槳饾槹饾槾 饾槳饾槸 饾様饾槩饾槬饾槼饾槳饾槬 饾槩饾槸饾槬 饾槗饾槹饾槸饾槬饾槹饾槸.
馃帣️饾悎 饾惏饾惃饾惍饾惀饾悵 饾惀饾悽饾悿饾悶 饾惌饾惃 饾惉饾惌饾悮饾惈饾惌 饾惌饾悺饾悶 饾悽饾惂饾惌饾悶饾惈饾惎饾悽饾悶饾惏 饾悰饾惒 饾惀饾惃饾惃饾悿饾悽饾惂饾悹 饾悰饾悮饾悳饾悿 饾惌饾惃 饾惌饾悺饾悶 饾悰饾悶饾悹饾悽饾惂饾惂饾悽饾惂饾悹饾惉 饾惃饾悷 饾悮饾惀饾惀 饾惌饾悺饾悽饾惉. 饾悁饾惌 饾惏饾悺饾悮饾惌 饾惄饾惃饾悽饾惂饾惌 饾悵饾悽饾悵 饾惒饾惃饾惍 饾惁饾悶饾悶饾惌 饾悮饾惂饾悵 饾悺饾惃饾惏 饾悵饾悽饾悵 饾惌饾悺饾悽饾惉 饾惄饾惈饾惃饾悾饾悶饾悳饾惌 饾悳饾惃饾惁饾悶 饾悮饾悰饾惃饾惍饾惌 饾悰饾悶饾惌饾惏饾悶饾悶饾惂 饾惌饾悺饾悶 饾惌饾惏饾惃 饾惃饾悷 饾惒饾惃饾惍?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃帣️饾悥饾悺饾悮饾惌 饾悽饾惉 饾惒饾惃饾惍饾惈 饾惍饾惉饾惍饾悮饾惀 饾惏饾悮饾惒 饾惃饾悷 饾惏饾惃饾惈饾悿饾悽饾惂饾悹 饾惂饾惃饾惏饾悮饾悵饾悮饾惒饾惉?
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: 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.
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: Especially for recording the strings, as Miguel says, which is quite an important aspect on both albums.
馃帣️饾悎 饾惏饾惃饾惍饾惀饾悵 饾惉饾悮饾惒 饾惌饾悺饾悮饾惌 '饾悅饾惃饾惁饾惄饾惀饾悶饾惐' (饾悁饾悥饾悁饾悑, 饾煇饾煆) 饾悽饾惉 饾悮 饾悮饾惄饾惄饾惈饾悶饾悳饾悽饾悮饾悰饾惀饾惒 饾惁饾惃饾惈饾悶 饾悮饾惁饾悰饾悽饾惌饾悽饾惃饾惍饾惉 饾悮饾惀饾悰饾惍饾惁, 饾惏饾悽饾惌饾悺 饾悮 饾惀饾惃饾惂饾悹饾悶饾惈 饾悾饾惃饾惍饾惈饾惂饾悶饾惒 饾悮饾惂饾悵 饾悮饾惀饾惉饾惃 饾惁饾惃饾惈饾悶 饾惉饾惃饾惀饾悽饾悵 饾惌饾悺饾悮饾惂 '饾悎饾惂饾惉饾悽饾悵饾悶' (饾悐饾惃饾悰饾悮饾惀饾惌, 饾煆饾煏) 饾悥饾惃饾惍饾惀饾悵 饾惒饾惃饾惍 饾悮饾悹饾惈饾悶饾悶? 饾悥饾悺饾悮饾惌 饾惏饾惃饾惍饾惀饾悵 饾惒饾惃饾惍 饾惉饾悮饾惒 饾悮饾惈饾悶 饾惌饾悺饾悶 饾惁饾悮饾悽饾惂 饾悵饾悽饾悷饾悷饾悶饾惈饾悶饾惂饾悳饾悶饾惉 饾悰饾悶饾惌饾惏饾悶饾悶饾惂 '饾悅饾惃饾惁饾惄饾惀饾悶饾惐' 饾悮饾惂饾悵 '饾悎饾惂饾惉饾悽饾悵饾悶'?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
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| Photo credit: Javier Alonso & Marina Sanz |
馃帣️饾悅饾惃饾惁饾惄饾惀饾悶饾惐' 饾悽饾惉 饾悮饾惂 饾悮饾惀饾悰饾惍饾惁 饾惏饾悽饾惌饾悺 饾惉饾惌饾惈饾悽饾惂饾悹饾惉 饾悮饾惂饾悵 饾悹饾悶饾惂饾悶饾惈饾惃饾惍饾惉 饾惃饾惈饾悳饾悺饾悶饾惉饾惌饾惈饾悮饾惌饾悽饾惃饾惂 饾惀饾悶饾惂饾悵饾悽饾惂饾悹 饾悶饾惀饾悶饾悹饾悮饾惂饾悳饾悶 饾惌饾惃 饾惌饾悺饾悶 饾悳饾惃饾惁饾惄饾惃饾惉饾悽饾惌饾悽饾惃饾惂饾惉. 饾悋饾惃饾惏 饾悵饾惃 饾悮饾惀饾惀 饾惌饾悺饾悶饾惉饾悶 饾悮饾惈饾惈饾悮饾惂饾悹饾悶饾惁饾悶饾惂饾惌饾惉 饾悮饾惂饾悵 饾悳饾惃饾惂饾惌饾惈饾悽饾悰饾惍饾惌饾悽饾惃饾惂饾惉 饾悷饾悽饾惌 饾悽饾惂饾惌饾惃 饾惌饾悺饾悶 饾惉饾惃饾惂饾悹饾惉 饾惌饾悺饾悶饾惁饾惉饾悶饾惀饾惎饾悶饾惉?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃帣️饾悎饾惉 饾惌饾悺饾悮饾惌 饾惄饾惈饾惃饾悳饾悶饾惉饾惉 饾悳饾惃饾惁饾惄饾惀饾悽饾悳饾悮饾惌饾悶饾悵?
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: 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).
馃帣️饾悎饾惂 饾惁饾惒 饾惃饾惄饾悽饾惂饾悽饾惃饾惂, 饾惌饾悺饾悶 饾悮饾惀饾悰饾惍饾惁 饾悺饾悮饾惉 饾悮 饾悳饾悶饾惈饾惌饾悮饾悽饾惂 饾悳饾悽饾惂饾悶饾惁饾悮饾惌饾悽饾悳 饾悮饾惉饾惄饾悶饾悳饾惌 - 饾惉饾惃饾惁饾悶饾惏饾悺饾悶饾惈饾悶 饾悰饾悶饾惌饾惏饾悶饾悶饾惂 饾悷饾惍饾惌饾惍饾惈饾悽饾惉饾惌饾悽饾悳, 饾惉饾悳饾悽饾悶饾惂饾悳饾悶 饾悷饾悽饾悳饾惌饾悽饾惃饾惂 饾悮饾惂饾悵 饾悵饾惒饾惉饾惌饾惃饾惄饾悽饾悮 - 饾悎饾惉 饾惉饾悳饾悽饾悶饾惂饾悳饾悶 饾悷饾悽饾悳饾惌饾悽饾惃饾惂 饾悮饾惂 饾悽饾惁饾惄饾惃饾惈饾惌饾悮饾惂饾惌 饾悽饾惂饾悷饾惀饾惍饾悶饾惂饾悳饾悶 饾悷饾惃饾惈 饾惒饾惃饾惍 饾惏饾悺饾悶饾惂 饾悽饾惌 饾悳饾惃饾惁饾悶饾惉 饾惌饾惃 饾悳饾惃饾惁饾惄饾惃饾惉饾悽饾惂饾悹? 饾悥饾悺饾悮饾惌 饾悽饾惂饾惉饾惄饾悽饾惈饾悶饾惉 饾惒饾惃饾惍?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃帶 饾懟饾拤饾拞 饾懎饾拪饾挀饾拞 - 饾懌饾拪饾拡饾拪饾挄饾拏饾拲 饾煇饾煆 + 饾懞饾挄饾拞饾拠饾拏饾拸 饾懚饾拲饾挃饾拝饾拏饾拲 饾拠饾拞饾拏饾挄. 饾懖饾拏饾挄饾挀饾拪饾拸饾拏 饾懘饾拹饾拡饾拞饾拸饾挃饾拞饾拸 馃幎
https://youtu.be/TtjxhNBy7m0 馃帣️饾悗饾惂饾悶 饾惃饾悷 饾惌饾悺饾悶 饾惌饾悺饾悽饾惂饾悹饾惉 饾悎 饾惀饾悽饾悿饾悶 饾惌饾悺饾悶 饾惁饾惃饾惉饾惌 饾悮饾悰饾惃饾惍饾惌 '饾悅饾惃饾惁饾惄饾惀饾悶饾惐' 饾悽饾惉 饾惌饾悺饾悮饾惌, 饾惍饾惂饾悵饾悶饾惈 饾惌饾悺饾悶 饾悳饾惃饾惁饾惁饾惃饾惂 饾悶饾惀饾悶饾悳饾惌饾惈饾惃饾惂饾悽饾悳 饾惍饾惁饾悰饾惈饾悶饾惀饾惀饾悮, 饾悽饾惌 饾悽饾惉 饾悮 饾惁饾惍饾惀饾惌饾悽饾悷饾悮饾悳饾悶饾惌饾悶饾悵 饾惏饾惃饾惈饾悿 饾惌饾悺饾悮饾惌 饾悮饾悳饾悳饾悶饾惀饾悶饾惈饾悮饾惌饾悶饾惉 饾悮饾惂饾悵 饾悵饾悶饾悳饾悶饾惀饾悶饾惈饾悮饾惌饾悶饾惉 饾惌饾悺饾悶 饾惈饾悺饾惒饾惌饾悺饾惁 饾惏饾悽饾惌饾悺 饾悮 饾惀饾惃饾惌 饾惃饾悷 饾悳饾惈饾悶饾悵饾悽饾悰饾悽饾惀饾悽饾惌饾惒. 饾悋饾惃饾惏 饾悵饾惃 饾惒饾惃饾惍 饾悷饾悽饾惂饾悵 饾惌饾悺饾悶 饾惈饾悽饾悹饾悺饾惌 饾惈饾悺饾惒饾惌饾悺饾惁 饾悷饾惃饾惈 饾悶饾悮饾悳饾悺 饾惉饾惃饾惂饾悹? 饾悗饾惂 饾惌饾悺饾悶 饾悮饾惀饾悰饾惍饾惁 饾惌饾悺饾悶饾惈饾悶 饾悮饾惈饾悶 饾惉饾惃饾惁饾悶 饾悮饾悳饾悳饾惍饾惈饾悮饾惌饾悶 饾悮饾惂饾悵 饾悶饾惎饾悶饾惂 饾惈饾惍饾惉饾悺饾悶饾悵 饾惄饾悽饾悶饾悳饾悶饾惉, 饾悰饾惍饾惌 饾悮饾惀饾惉饾惃 饾惉饾惃饾惁饾悶 饾悵饾悶饾惀饾悽饾悳饾悮饾惌饾悶 饾悮饾惂饾悵 饾惎饾悶饾惈饾惒 饾悰饾悶饾悮饾惍饾惌饾悽饾悷饾惍饾惀 饾惃饾惂饾悶饾惉.
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: 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.
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| Photo credit: Javier Alonso & Marina Sanz |
馃帣️饾悘饾惈饾悶饾悳饾悽饾惉饾悶饾惀饾惒 饾惃饾惂饾悶 饾惃饾悷 饾惌饾悺饾悶 饾惁饾惃饾惉饾惌 饾惉饾惌饾惈饾悽饾悿饾悽饾惂饾悹 饾惄饾悶饾悳饾惍饾惀饾悽饾悮饾惈饾悽饾惌饾悽饾悶饾惉 饾惃饾悷 "饾悅饾惃饾惁饾惄饾惀饾悶饾惐" 饾悮饾惈饾悶 饾惌饾悺饾悶 饾悹饾惍饾悶饾惉饾惌 饾惎饾惃饾悽饾悳饾悶饾惉. 饾悋饾惃饾惏 饾悵饾惃 饾惒饾惃饾惍 饾悹饾悶饾惌 饾惌饾悺饾悶饾惉饾悶 饾悳饾惃饾惀饾惀饾悮饾悰饾惃饾惈饾悮饾惌饾惃饾惈饾惉 饾悮饾惂饾悵 饾悺饾惃饾惏 饾悵饾惃 饾惒饾惃饾惍 饾悵饾悶饾悳饾悽饾悵饾悶 饾惏饾悺饾惃 饾惉饾悺饾惃饾惍饾惀饾悵 饾惉饾悽饾惂饾悹 饾悽饾惂 饾悶饾悮饾悳饾悺 饾惉饾惃饾惂饾悹? 饾悥饾悺饾悶饾惈饾悶 饾悵饾惃 饾惌饾悺饾悶饾惉饾悶 饾悳饾惃饾惀饾惀饾悮饾悰饾惃饾惈饾悮饾惌饾悽饾惃饾惂饾惉 饾悳饾惃饾惁饾悶 饾悷饾惈饾惃饾惁?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃帣️饾悎 饾悿饾惂饾惃饾惏 饾惏饾悶'饾惈饾悶 饾惌饾悮饾惀饾悿饾悽饾惂饾悹 饾悮饾悰饾惃饾惍饾惌 饾悷饾悶饾惁饾悮饾惀饾悶 饾惎饾惃饾悽饾悳饾悶饾惉, 饾悰饾惍饾惌 饾悺饾悮饾惎饾悶饾惂'饾惌 饾惒饾惃饾惍 饾悶饾惎饾悶饾惈 饾惌饾悶饾惁饾惄饾惌饾悶饾悵 饾悂饾惈饾悽饾悮饾惂 饾悓饾惃饾惀饾悿饾惃 (饾惀饾悶饾悮饾悵 饾惉饾悽饾惂饾悹饾悶饾惈 饾惃饾悷 饾悘饾惀饾悮饾悳饾悶饾悰饾惃) 饾惌饾惃 饾悵饾惃 饾惎饾惃饾悳饾悮饾惀饾惉 饾惃饾惂 饾悮 饾惉饾惃饾惂饾悹?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: That's for Stefan (laughs).
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: (Smiles). Yes, you never know. Not so far, but you never know.
馃帣️饾悡饾悺饾悶饾惈饾悶 饾悺饾悮饾惎饾悶 饾悰饾悶饾悶饾惂 饾惉饾悶饾惎饾悶饾惈饾悮饾惀 饾悵饾悶饾惀饾悮饾惒饾惉 饾惏饾悽饾惌饾悺 饾惌饾悺饾悶 饾惈饾悶饾惀饾悶饾悮饾惉饾悶 饾惃饾悷 饾惌饾悺饾悽饾惉 饾悮饾惀饾悰饾惍饾惁, 饾惏饾悺饾悽饾悳饾悺 饾惏饾悮饾惉 饾悮饾惀饾惈饾悶饾悮饾悵饾惒 饾惄饾悺饾惒饾惉饾悽饾悳饾悮饾惀饾惀饾惒 饾惁饾悮饾惂饾惍饾悷饾悮饾悳饾惌饾惍饾惈饾悶饾悵 饾惉饾惃饾惁饾悶 饾惌饾悽饾惁饾悶 饾悮饾悹饾惃. 饾悥饾悺饾悮饾惌 饾悺饾悮饾惄饾惄饾悶饾惂饾悶饾悵?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃帴 饾懐饾拪饾拡饾拤 饾懓饾拸 饾懟饾拤饾拞 饾懞饾拰饾挌 - 饾懌饾拪饾拡饾拪饾挄饾拏饾拲 饾煇饾煆 + 饾懞饾挄饾拞饾拠饾拏饾拸 饾懚饾拲饾挃饾拝饾拏饾拲 - 饾應饾拹饾拸饾拕饾拪饾拞饾挀饾挄饾拹饾挃 饾拝饾拞 饾懝饾拏饾拝饾拪饾拹 饾煈 (饾煇饾煄饾煇饾煆) 馃幎
https://youtu.be/2eRu0QPEE1k 馃帣️饾悎 饾惌饾悺饾悽饾惂饾悿 饾惒饾惃饾惍饾惈 饾惌饾惏饾惃 饾悮饾惀饾悰饾惍饾惁饾惉 饾悺饾悮饾惎饾悶 饾惎饾悶饾惈饾惒 饾惈饾悶饾悳饾惃饾悹饾惂饾悽饾惓饾悮饾悰饾惀饾悶 饾惌饾悶饾惐饾惌饾惍饾惈饾悶饾惉, 饾惉饾惃饾惁饾悶饾惌饾悺饾悽饾惂饾悹 饾惌饾悺饾悮饾惌 饾悽饾惉 饾惂饾惃饾惌 饾悶饾悮饾惉饾惒 饾悽饾惂 饾惌饾悺饾悶 饾悶饾惀饾悶饾悳饾惌饾惈饾惃饾惂饾悽饾悳 饾悷饾悽饾悶饾惀饾悵. 饾悥饾悺饾悮饾惌 饾悿饾悽饾惂饾悵 饾惃饾悷 饾悮饾惀饾悰饾惍饾惁饾惉 饾悮饾惈饾悶 饾惒饾惃饾惍 饾惀饾惃饾惃饾悿饾悽饾惂饾悹 饾惌饾惃 饾惁饾悮饾悿饾悶? 饾悥饾悺饾悮饾惌 饾惇饾惍饾悮饾惀饾悽饾惌饾惒 饾悵饾惃饾悶饾惉 饾惒饾惃饾惍饾惈 饾惁饾惍饾惉饾悽饾悳 饾惂饾悶饾悳饾悶饾惉饾惉饾悮饾惈饾悽饾惀饾惒 饾悺饾悮饾惎饾悶 饾惌饾惃 饾悺饾悮饾惎饾悶?
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: 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…
馃帣️饾悩饾惃饾惍 饾悳饾悮饾惂 饾悮饾惂饾惉饾惏饾悶饾惈 饾悽饾惂 饾悇饾惂饾悹饾惀饾悽饾惉饾悺 饾悞饾惌饾悶饾悷饾悮饾惂, 饾惂饾惃 饾惄饾惈饾惃饾悰饾惀饾悶饾惁….
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: (饾槡饾樃饾槳饾樀饾槫饾槱饾槮饾槾 饾樀饾槹 饾槍饾槸饾槰饾槶饾槳饾槾饾槱) 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.
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
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| Photo credit: Javier Alonso & Marina Sanz |
馃帣️饾悩饾惃饾惍 饾惌饾惃饾惃饾悿 饾悮饾悵饾惎饾悮饾惂饾惌饾悮饾悹饾悶 饾惃饾悷 饾惌饾悺饾悶 饾悳饾惃饾惂饾悷饾悽饾惂饾悶饾惁饾悶饾惂饾惌 饾惌饾惃 饾惈饾悶饾惀饾悶饾悮饾惉饾悶 饾悮 饾惂饾悶饾惏 饾惄饾惈饾惃饾悾饾悶饾悳饾惌, 饾悓饾悮饾悵饾悶 饾悈饾惃饾惈 饾悋饾惍饾惁饾悮饾惂饾惉, 饾悮饾惂饾悵 饾悶饾惎饾悶饾惂 饾惈饾悶饾惀饾悶饾悮饾惉饾悶饾悵 饾悮 饾悷饾惍饾惀饾惀-饾惀饾悶饾惂饾悹饾惌饾悺 饾悮饾惀饾悰饾惍饾惁. 饾悁饾惄饾悮饾惈饾惌 饾悷饾惈饾惃饾惁 饾惌饾悺饾悶 饾悷饾悮饾悳饾惌 饾惌饾悺饾悮饾惌 饾惌饾悺饾悽饾惉 饾惄饾惈饾惃饾悾饾悶饾悳饾惌 饾悽饾惉 饾惉饾惌饾惈饾悽饾悳饾惌饾惀饾惒 饾悽饾惂饾惉饾惌饾惈饾惍饾惁饾悶饾惂饾惌饾悮饾惀, 饾惏饾悺饾悮饾惌 饾悮饾惈饾悶 饾惌饾悺饾悶 饾悵饾悽饾悷饾悷饾悶饾惈饾悶饾惂饾悳饾悶饾惉 饾惏饾悽饾惌饾悺 饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆 + 饾悞饾惌饾悶饾悷饾悮饾惂 饾悗饾惀饾惉饾悵饾悮饾惀? 饾悥饾悺饾悮饾惌 饾悵饾惃饾悶饾惉 饾悽饾惌 饾悰饾惈饾悽饾惂饾悹 饾惌饾惃 饾惒饾惃饾惍 饾惌饾悺饾悮饾惌 饾惒饾惃饾惍 饾悵饾惃饾惂'饾惌 饾悹饾悶饾惌 饾惏饾悽饾惌饾悺 饾惌饾悺饾悶 饾惁饾悮饾悽饾惂 饾惄饾惈饾惃饾悾饾悶饾悳饾惌?
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: 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.
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃帣️饾悋饾惃饾惏 饾悵饾惃饾悶饾惉 饾惌饾悺饾悶 饾惌饾惃饾惄饾悽饾悳 饾惃饾悷 饾惌饾悺饾悶 饾惌饾惃饾惍饾惈 饾悮饾惈饾悽饾惉饾悶 饾惂饾惃饾惏 饾惌饾悺饾悮饾惌 饾惌饾悺饾悶 饾悮饾惀饾悰饾惍饾惁 饾悷饾悽饾惂饾悮饾惀饾惀饾惒 饾惉饾悶饾悶饾惉 饾惌饾悺饾悶 饾惀饾悽饾悹饾悺饾惌 饾悮饾惂饾悵 饾悺饾惃饾惏 饾悵饾惃 饾惒饾惃饾惍 饾悵饾悶饾悷饾悽饾惂饾悶 饾惒饾惃饾惍饾惈 饾悳饾惃饾惂饾悳饾悶饾惈饾惌饾惉?
馃敻饾悆饾悽饾悹饾悽饾惌饾悮饾惀 饾煇饾煆: 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.
馃帣️饾悡饾惃 饾悷饾悽饾惂饾悽饾惉饾悺, 饾悞饾惌饾悶饾悷饾悮饾惂, 饾悎 饾悺饾悮饾惎饾悶 饾惌饾惃 饾悮饾惉饾悿 饾惒饾惃饾惍 饾悮饾悰饾惃饾惍饾惌 饾惌饾悺饾悶 饾惂饾悶饾惏 饾悘饾惀饾悮饾悳饾悶饾悰饾惃 饾悮饾惀饾悰饾惍饾惁, 饾悰饾悶饾悳饾悮饾惍饾惉饾悶 饾惏饾悶'饾惎饾悶 饾悰饾悶饾悶饾惂 饾惏饾悮饾悽饾惌饾悽饾惂饾悹 饾悶饾悽饾悹饾悺饾惌 饾惒饾悶饾悮饾惈饾惉 饾悷饾惃饾惈 饾惌饾悺饾悽饾惉 饾惂饾悶饾惏 饾悮饾惀饾悰饾惍饾惁. 饾悁饾惂饾悵 饾惌饾悺饾悶 饾惌饾惏饾惃 饾惄饾惈饾悶饾惎饾悽饾悶饾惏饾惉, "饾悂饾悶饾悮饾惍饾惌饾悽饾悷饾惍饾惀 饾悏饾悮饾惁饾悶饾惉" 饾悮饾惂饾悵 "饾悞饾惍饾惈饾惈饾惃饾惍饾惂饾悵饾悶饾悵 饾悂饾惒 饾悞饾惄饾悽饾悶饾惉", 饾悮饾惈饾悶 饾惁饾悮饾悹饾惂饾悽饾悷饾悽饾悳饾悶饾惂饾惌. 饾悥饾悺饾悮饾惌 饾悳饾悮饾惂 饾惒饾惃饾惍 饾惌饾悶饾惀饾惀 饾惁饾悶 饾悮饾悰饾惃饾惍饾惌 "饾悕饾悶饾惎饾悶饾惈 饾悑饾悶饾惌 饾悓饾悶 饾悊饾惃"?
馃敼饾悞饾惌饾悶饾悷饾悮饾惂: 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.✪
▪️饾殏饾殬饾殲饾殯饾殞饾殠:
https://bit.ly/3dYLrct 馃枊️饾櫨饾殯饾殥饾殣饾殥饾殫饾殜饾殨 饾殐饾殠饾殹饾殱: 饾憛饾憥饾憿́饾憴 饾惤饾憿饾憴饾憱饾憥́饾憶, 15.12.2021
▪️饾櫞饾殫饾殣饾殨饾殥饾殰饾殤 饾殐饾殯饾殜饾殫饾殰饾殨饾殜饾殱饾殥饾殬饾殫: 饾憛饾憱饾憽饾憥 饾憖饾憸饾憴饾憳饾憸 饾憫饾憭 饾惪. 饾憮饾憸饾憻 饾憙饾憴饾憥饾憪饾憭饾憦饾憸 饾惔饾憶饾懄饾懁饾憥饾懄
Post by Rita
