A while back, Paris-based Cuarto Mundo was found via Instagram by the Music is Prana (MIP) “origination team”. It soon made its way into the editorial war room of our Europe office where it was deemed a precious gem. One of magical properties. But wait, MIP is not an international media conglomerate. Nor do we have a team of scouts tasked with finding the best and the finest. In this instance, this precious gem found us, somehow…
Hey there folks, now that the world has gradually gone back to “normal” after the Covid craze, and we embark on a bumpy road ahead where inflation has taken the form of a Macy’s parade float, I get to narrate the connection between this music blog and the set of songs released -or rather summoned- by Cuarto Mundo.
As a songwriter and massive music fan I’m always on the prowl for the latest, searching playlists, and embarking on conversations with revered music gurus for their insights on what the music universe has to offer.
In the case of Cuarto Mundo, the universe conspired and they made their way into my IG feed about a year ago. Time went by, and the free will restrictions imposed by “inverted totalitarianism” prevented me from ever writing a review. Nevertheless, now that I’ve faced the greedy capitalist beast, I get to stand for universal consciousness and its gift to us: the Cuarto Mundo singles.
As a a man of “wealth and taste” -*spiritual wealth-, I bestow upon you the messages of this musical séance.
Sirocco
It evokes Peru ‘s Denge Denge Denge and Los Mirlos Amazonian rhythms and enticing B3 respectively. This song could easily be featured in the soundtrack of a Wes Anderson film. I mean, although sonically in a different frequency, “Sirocco” is reminiscent of the Royal Tenenbaums array of characters purposely diverting into their own paths, yet their stories eventually intertwine to such a degree that it leaves the audience astounded and begging for more, asking themselves: “Will there be a sequel to this film?”. In “Sirocco”, the instruments -as the film’s characters- fight ferociously to assert their own identity, only to come together bonded by the overall mantra of the song. I personally ask, will there be a sequel to this song? Let’s hope so!!
La Psycho Cumbia del Tarot
This song is a shamanic “remix” of “La Cumbia del Tarot”. I write shamanic as this rendition of the song casts a spell on the listeners. A carefully curated potion of Andean beats, timbales, and a delayed synth, all acting in syncopation to invite the listener to move forward through the “party of life” -Richard Aschroft reference-…yes, I got “music is prana” from “music is power” by our prophet Richard. Thanks to this sacred digital potion, my senses entered a new dimension, where my ego was killed by the phrase “el tarot te enseñará a crear tu alma” (literally, “the tarot will create your soul), feeling compelled to transcend into pure awareness as well as ecstatic freedom. The healing experience was worth the trip.
Sabi Lulu
Music jewelry box “Sabi Lulu” is soon to be sampled by Timbaland, as it is an endless source for adornments for any production. Building on a vibraphone riff (*the band will have to confirm this is the instrument they are using in an interview), there are hints of Air’s seminal “Talkie Walkie” and the drum sounds of Thom Yorke’s “The Eraser”. The song reaches its climax in the coda where the synths exude happiness and joy, a friendly farewell to the audience and a nod to a future reunion.
Led by Thomas Lavernhe and Cosmo Gonik, Cuarto Mundo exists free of time and space, channeling those pure spirits who seek to protect us from the vain and evil. Are you looking forward to their new release? I am!
Covid has sure changed the way we interact, and in my case my perception of time…as the Amy Jo Doh + Friends took place 2 weeks ago and I am now writing about it…Who’s to blame??? It might just be the neo liberal model in which Spain appears to be transitioning to, and the horrible effects it is having on the workforce in general. That last sentence could have easily been found in the Economist, and on that note…let’s get to business!!
Fiesta de San Isidro is arguably the most representative celebration taking place in Madrid. People take to the streets in classic Castizo ‘chulapo’ outfits to enjoy outdoors live music and gastronomy. It’s a party taking place throughout the whole city!! This year’s celebration had restrictions per obvious reasons, yet there was a place in town that captured the full spirit of San Isidro, and that was the Bodega del Aguila bar located in the iconic neighbourhood of Lavapies. And even more importantly, it housed the Glastonbury of San Isidro, A.K.A. Amy Jo Doh + Friends (Yvonne Power, Anxtón, and Emma Gowing).
The line-up of aforementioned stars easily delivered 17 songs broken into two sets, showcasing musical talent and incredible charisma. The initial 9 songs’ highlights included Meghan Trainor’s cover “All About That Bass” and the crowd favourite “English Girl in Madrid”.
Such was the positive vibe of the first half of the show that it exemplified the recent lift of the Covid related restrictions of the city, where Madrileños are enjoying a new found liberty.
In Amy Jo’s own words: “Cuando quieres , el mundo entero está contigo” / “When you want it, the whole world can be with you”
After a cigarette / drink break, the music went back in motion setting the “stage” of the Bodega del Aguila on fire. Highlights included: Wham’s “Wake me up before you go go” and Amy’s “Museo del Jamón”. Nevertheless, the crowd lost its mind with “No Pasa Nada”, and the classic “Dream a Little Dream of Me”.
2020 was crazy indeed, and 2021 is slowly getting better. With that said, the Amy Jo Doh + Friends show was a much needed break for all of us who love live music. It was a blast of fun that I’m sure it is a prelude of what Amy Jo has in store for us this year. Stay tuned for more!!!
…Y dice… este zine cumplió su primer año este mes. Han sido 12 meses donde mediante este medio he podido dar a conocer nuevas propuestas, así como entrevistar a mis artistas preferidos. Digo preferidos, porque en efecto tanto Nation of Language como Julia Bardot estuvieron (y siguen) sonando fuerte en mis playlists antes de “mandarme” y escribirles para explorar pactar una entrevista. En esta ocasión -y creo que a modo de regalo del universo- tengo el gusto de entrevistar al gran Wayo, cantautor peruano y sospecho que viajero del tiempo…algo que descifraremos con la ayuda de las preguntas.
Me encomiendo al espíritu de Ian Curtis, me pongo una camisa negra, enciendo caja de ritmos 808, y desde este escritorio desde la hasta hace poco gélida Madrid de la mítica banda la Unión, me dispongo a entrevistar a otro mítico tan eléctrico.
MY – Sé que tu inicio en la música fue con Último Refugio, pero yo te conozco con tu segundo álbum “Eléctrica Ciudad” (2006). Recuerdo que mi primera reacción fue que me sonó adelantado a su época, casi como el “Siempre es Hoy” de Cerati. Había secuencias, bajos sinte, programaciones, y también guitarras distorsionadas, ritmos post punk y ecos en tu voz a los ‘eternos’ Peter Hook y Jim Morrison. Cuéntanos como llegaste a ese sonido tan particular? Le planteaste la idea al productor? O fue algo orgánico, donde se consiguió plasmar la energía del pasado a través de la modernidad?
Hola Mauricio, primero quiero agradecer tu tiempo y consideración para permitirme dar a conocer mi carrera. Gracias también por tus generosas palabras.
«Eléctrica Ciudad» fue un disco de largo aliento desde la composición (2004), la pre producción (2005) y la entrega final. La composición la hice en casa, había hecho varios demos pero no fue hasta que compuse el tema título del disco que supe de qué quería hablar: de mis amigos, de historias y personajes bajo el cielo gris de mi Eléctrica Ciudad (Lima).
Los sonidos estaban en mi cabeza, y desde la pre producción asomaban ruidos que grababa en los buses o en la calle camino al estudio, con el ingeniero sampleaba loops y buscaba con el guitarrista invitado un sonido de cuerdas más acorde al tráfico de la ciudad, de ahí las distorsiones, y creo que con mi voz es simplemente un fluir de acuerdo a la armonía, no tengo referencias vocales, lo que quiero es seguir descubriendo y aprendiendo a usar mi voz.
El disco era la visión de lo que para mí era moderno en aquel momento, usar el sonido del pasado como un eterno retorno, como materia prima para algo nuevo. Hubo mucho empeño en buscar cada sonido y cada detalle que a veces puede pasar desapercibido, lo recuerdo junto a «Hoy puede salir el sol», como el disco más trabajoso. Un detalle simpático es que fue catalogado por la prensa especializada como un «resurgimiento del pop local».
MY – Tu última producción “Intemporal”, es un disco sinfónico cuyo primer corte “Vuela” es una canción llena de esperanza y buena vibra. Te tengo que confesar que la frase “sonríe al despertar” me recordó a los consejos de un padre o a los de un abuelo. Es acaso “Vuela” un recuerdo de tu infancia que has buscado traducir en algo tangible como una canción? Como dice el maestro Alejandro Jodorowsky, el ser humano es producto de la influencia de nuestros antepasados, buscas inconscientemente dejarle un recuerdo a un ser querido?
Éste proyecto sinfónico «Intemporal» dónde estoy versionando mis canciones con instrumentación clásica, es una apuesta al futuro que me está sirviendo de norte en estos tiempos tan extraños donde muchos proyectos se congelaron (cuarto tour europeo, presentaciones en México y Santiago de Chile).
«Vuela» fue el primer lanzamiento a manera de dar un mensaje positivo a los amigos y familia. Puedes sentir que alguien te da una palabra de aliento quizá porque la compuse pensando en mi hijo mayor Santiago, quien ilustró la portada del single y es mi gran motivador de canciones. Inevitablemente al cantarla siento que también hablo de mi propio vuelo y me dá impulso para seguir adelante.
Con los años observo que uno es lo que canta, que hay casos en que el mensaje viene de algún lugar y uno simplemente lo recepciona, amplifica y difunde
Con los años observo que uno es lo que canta, que hay casos en que el mensaje viene de algún lugar y uno simplemente lo recepciona, amplifica y difunde. Y sí, como dice el maestro Alejandro, somos la suma de muchas vidas: pasadas y futuras. Y si bien mis canciones no son de autoayuda creo que humildemente ayudan.
Creo firmemente en el poder de la canción y como escribí en «Vámonos»: todo pensamiento es realidad, por ello busco que cada composición mejore el estado de ánimo, el propio y ajeno para generar algo mejor.
MY – “Intemporal” es un vuelco a la música clásica. Como lograste los arreglos y orquestación? Mientras que “Eléctrica Ciudad” fue un viaje al futuro, se podría decir que este disco es un viaje al pasado, en que era lo situarías tú? Me da la impresión que la música es una bitácora que te permite viajar por el tiempo.
La música es mi viaje, le debo la vida, la profesión, mi familia, la posibilidad de prosperar y de también llevar un poquito de alegría a quienes me siguen.
«Intemporal» es un sueño que he abrigado desde el año 2000 en que tuve la oportunidad de cantar con una orquesta sinfónica, luego en 2012 se volvió a repetir y desde entonces tenía esa ilusión de llevar mis composiciones a un formato que considero está más allá del tiempo, por eso lo de «Intemporal».
El año pasado, en plena cuarentena, se dió la oportunidad de compartir la idea, a raíz de que compuse el Himno de Santiago de Surco (mi distrito), con el gran equipo que conforman Emmanuel Ortega en arreglos y orquestación, y Carlos Marchan en mezcla, ingeniería y masterizado. Los arreglos mantienen los hooks de cada tema y también proponen nuevas ideas melódicas para que mi voz pueda contar las historias con más ímpetu de lo habitual, el formato me da esa libertad.
El plan es que el 28 de cada mes se estrena en todas las plataformas digitales, gracias a Altafonte Perú, un nuevo single del disco, hasta llegar a completarlo.
En cada uno de mis discos hay un nuevo rumbo a seguir, se propone esa bitácora que mencionas, que renueva mis sueños y planes, así me mantengo siempre andando en el camino, con la ilusión de hacer de la propia vida la mejor canción. Ahora el sueño es cantar en un teatro acompañado por una orquesta sinfónica y con público por favor!
MY – Estuviste girando por el viejo continente el año pasado, fue tu primera salida al extranjero? Como fue la respuesta del público en España, Francia, y Bélgica? Como fue la experiencia de conectar con un público francófono?
He tenido la oportunidad de vivir en Buenos Aires, Caracas, Puerto Ordaz y Maracay (en Venezuela), de cruzar por tierra Ecuador y Colombia, de conocer cantando las principales ciudades de mi país como: Cusco, Arequipa, Trujillo, Iquitos, Cañete, Ica, Oxapampa, Huánuco, Huancayo y Moquegua, y de viajar nuevamente al extranjero llevando mi música por Buenos Aires (dos giras en abril y julio 2015), Cancún ( febrero 2016), Madrid, París y Milán (julio 2018), Madrid y París (junio 2019) dónde gané un trofeo en el 6to Festival Latinoamericano de París; luego tuve dos presentaciones en Medellín (julio 2019), e hice mi tercera gira europea por Madrid, Bruselas, París, Lille y Tournai en octubre y noviembre 2019, lo cual quedó registrado en parte en el video de «Vuela + Sin disfraz».
En cada viaje he cantado para el público local, mis propias canciones y en castellano, lo cual es una reafirmación de que hay que creer para crear, sólo desde esa certeza los demás te pueden considerar, y así fue que el público fue muy amable y receptivo en todo momento y en cada lugar, comprobando así de que la música une y de que es el lenguaje universal.
MY – La pandemia del Covid ha tenido un impacto muy fuerte sobre la industria musical, en especial sobre las presentaciones en vivo. No obstante, el internet ha salido al rescate de la experiencia musical gracias a los “Streamings”. Si bien no tienes al público al frente, puedes conectar con gente de todos los rincones del mundo. En tu opinión, que significa llevar a cabo conciertos en formato digital? Cuéntanos cuando tienes tu próxima presentación?
Empecé éste emprendimiento del Compartir Acústico «La Música Une» impulsado por un amigo a manera de levantar el propio ánimo tras el congelamiento de los planes 2020, mi esposa se encargó de armar la propuesta y se formó amicalmente un equipo que me ayuda hasta hoy en redes y promoción, se cuenta con el respaldo en la difusión de medios independientes y amigos, y ver que una simple iniciativa puede generar unión es muy bonito. Así estamos llegando éste viernes a la semana número 44, increíble!
Wayo rompiendola en Lille, Francia en 2019
Mi transmisión va todos los viernes de 8pm a 9pm (hora peruana), y si bien los primeros eventos eran muy extraños por la situación de cantar frente a dos dispositivos (se transmite en simultáneo por FB + IG), se ha establecido una dinámica en donde mi esposa anota cada saludo y así me siento más acompañado y motivado para brindar un poquito de alegría a los amigos que se unen desde algunas ciudades de Perú, y también desde México, Guatemala, Madrid, Málaga, París, Washington, Atlanta, Buenos Aires, Santiago de Chile y Sidney, lo cual se agradece muchísimo por la diferencia horaria de algunas ciudades.
Al inicio había más público debido a la cuarentena extrema, ahora con la apertura se une un grupo de amigos casi de manera habitual, lo cual le da un sentido más familiar a cada viernes.
La intención es llevar a través de mi discografía un mensaje de bienestar, con mucho punche e ilusión.
Confieso que en algunas transmisiones he caído en cuenta de la realidad y de lo mucho que se extraña una mirada, una sonrisa y un aplauso pero la sola presencia de mi familia y de quienes se suman de manera virtual me genera un compromiso y renueva el entusiasmo para seguir adelante.
Creo que el poder conectar con gente de diferentes lugares es una maravillosa oportunidad para hacer que la música se transforme en acción.
Los espero éste viernes 19 en la semana número 44 por: Facebook.com/wayosite e Instagram.com/wayoperu , el acceso es libre.
Muchas gracias Mauricio por la oportunidad de conversar, a seguir adelante con tus proyectos!
A while back I was looking for a new pla….Luego de tantos artículos en ingles, este blog ya parece proyecto final de fin de curso del ICPNA…Volviendo a este post, estaba contando sobre mi búsqueda de depa (piso) como le dicen acá en Madrid hace algún tiempo. Recuerdo que era algo temprano y tenía que hacer hora antes de llegar a la dirección pactada con el propietario, y fui en búsqueda de una dosis de cafeína. Recuerdo también que en mi exploración del barrio me cautivó el olor del café de un local ubicado en Calle del Doce de Octubre, 16 (muy cerca del central park madrileño, el Parque del Retiro), y decidí entrar al Oso y el Madroño y ponerle fin a la voz interior que me reclamaba no un café, sino un cafezaso.
Café solo con hielo + una galleta de vainilla, imperdible
Entré al local y sentí la atenta mirada de un ser superlativo, bajo el presagio de que había encontrado el tan añorado lugar ideal (vaya floraso, pisa tu pelota Vargas Llosa). En efecto, esa mirada era la de un Ekeko quien miraba sigilosamente a los comensales, y quien además canalizó espiritualmente al maestro César Miró autor del lacrimógeno vals criollo «Todos Vuelven«. Mencionó esta conjura de elementos, ya que al saludar y pedir mi cafezaso, obtuve como respuesta la pregunta: «Tenemos un nuevo café peruano, ¿te gustaría probarlo?».
El Ekeko, simbolo de prosperidad
Como peruano en el exilio había dado con un local que ofrecía café peruano, sentí la emoción de un televidente que conseguía que su llamada entrara a Aló Gisela…sí, lo digo con roche…Gisela nunca contestó mi llamada… Como era de esperarse, acepté el ofrecimiento del café peruano (brutalmente bueno para variar), y de igual forma me hipnotizó la música que se escuchaba en el local. Tenían una playlist variada, que conseguía que los distintos géneros y eras musicales fluyeran sin problema, una playlist de conocedor, sin duda. Mientras tarareaba «Lo mas grande que existe es el amor» de We All Together y me disponía a pedir otra galleta de vainilla, me dí cuenta que este arte del Oso y el Madroño de combinar canciones también lo traducen en su carta.
Una seleccion de cafes + tostas imperdible!!
«El resto es historia»…bueno antes de escribir en el blog soy músico (Binary Drift) y quería soltar una frase estoica, esas que solo pueden profesar aquellos escritores publicados por editorial Planeta jajaja. Digo «historia», porque el Oso y el Madroño ya es mi lugar oficial, un local que frecuento para disfrutar de sus cafés y para entablar conversaciones con los geniales Marquitos y Leo, quienes a su vez son un percusionista y un melómano respectivamente.
Marquitos y Leo, dos grandes amigos y grandes conocedores de la música
Como músico, estoy convencido que las canciones tienen el poder único de generar buena vibra, y siguiendo una nueva tradición donde este blog publica playlists de sus entrevistados/amigos (la primera fue de Octavio Pires), les pedí a Marquitos y a Leo que compartieran su excelente selección de canciones con nosotros.
Los invito a escuchar esta colección de temas (que seguramente no será el último) -que navega tranquilamente entre distintas décadas y emociones y que los contagiará de la buena vibra del Oso y el Madroño, el lugar que seguramente luego de visitarlo será su preferido!!!
* «Lo más grande que existe es el amor» de We All Together era parte de la playlist, pero no la pude encontrar en Spotify. Pero se las dejo en formato en vivo que tiene un feeling único, tan único como el Oso y el Madroño.
2020 is coming to an end…finally, yes indeed! I guess that’s what everybody is thinking about. In many ways, the whole COVID crisis has made 2020 kind of a guest at your place that is overstaying his stay for too long, yet you can’t throw him out because he is a family friend you’ve known forever and it would reflect bad on you…get it?? Anyway, after letting this out of my chest, I have the pleasure to share with you my latest find, “Phoenix” by *Russia’s own Shrezzers.
Double kick drum, double attack guitars, and the exchanges between the singer and a screamer are all central elements of the metalcore genre. Prod by Alexander Ivanov, “Phoenix”, embodies all of the above…with a twist. The song features programmed drums in the intro and in the middle section –ala Nine Inch Nails– and a sax. Yes, you’ve read it right, a sax! It’s been a while since I last heard a wind instrument in a song by a band with a “heavy” sound. This track must have been Summer Romance (Anti-Gravity Love Song) by Incubus, who at the time of that release (1998) had a Primus vibe. I actually saw them in Philadelphia during the tour they did with Primus and Buckethead in 1999…wow that far back. The reason why I bring up these acts is because “Phoenix” does have hints of Primus’ unapologetic tempo changes and breakdowns, Buckethead’s “I’m overplaying but I can do it because I am a sick guitarist”, and Incubus’ catchy melodies mixed with heavy distortion in the choruses. Singer Diego Silva Malaga’s voice does remind me of Brandon Boyd of Incubus during the “Make Yourself” era, and AFI’s Davey Havok during the seminal release “Sing the Sorrow”. Yet, he manages to have a style all of his own, easily playing with his falsetto to then have his vibrato blow through the speaker…did I say Jeff Buckley?
2020 has been a bummer -without question-, but tracks like “Phoenix” are precisely what signals that music (good music that is) can’t and won’t be stopped. In this instance, “Phoenix” is that kind of guest that surprises you in every conversation and you wish you’d see again soon. Can’t wait to listen to more stuff from these guys.
* Diego is based out of Peru and his work also includes the great As We Survive. I’m sure this transcontinental partnership will spark more hits!
“Caminante no hay camino, se hace camino al andar”, sings Joan Manuel Serrat, whose 1969 hit “Cantares” incorporates that amazing phrase from Spanish poet Antonio Machado, an icon from the Generation of ’98. It translates into: “Traveller, there is no path / it will come about as you travel”, and I bring it up because it signifies (at least, it is my perception) freewill and the desire to let our journey unfold…as we go forward.
With that said, Music is Prana was born out of the desire to showcase independent thought, and even though the name itself has the word “music” in it, we are open to all art forms. Today we get to feature New York based photographer Octavio Pires, a dear friend -and a true Caminante- whose photography is a testament of his desire to venture out into every corner of the planet and to use his camera to capture emotion, colors, and daybreaks. Is Octavio using his lens to convey a message/ capture stills of a story? Or perhaps, he is letting us enter the privacy of his own memories? We are about to find that out and more!
Bairro Alto, Lisbon 2014 Baixa, Lisbon 2014
MY: As a musician myself, listening to Nirvana and the likes of Silverchair and Smashing Pumpkins made me want to pick up a guitar. More specifically, it was watching the video for the song “Tomorrow” by Silverchair what made me want to be in a band. Did you have such moment with photography? Tell us about the initial spark, and what did you want to capture with your camera? What were your early influences?
OP: Growing up my dad had a collection of old cameras lying around the house collecting dust with no film or batteries. I would use them to frame everything and everyone around me with nothing more then the view finder. Guess these were my first lessons in composition. Later in life I spent a good amount of time assisting a girlfiriend on some photo gigs quickly finding my addiction for capturing emotion in candids.
«Composition is key»
MY: The first two pictures in this feature were taken in Lisbon, Portugal. We see an empty street where you manage to integrate triangles against the ground and the sky, whilst in the other picture the city is in motion under a set frame (could be a bridge). In both instances, walk us through your technique to incorporate organic shapes.
OP: Composition is key. I incorporate movement into the still and with that hope to tell a story or bring out an emotion. Both these were shot farely quickly trying to capture the emotion I felt in that specific moment. The first one being that magical Lisbon light and the next the energy of city romance through a trolley window.
«It’s all about framing a moment and it being a meaningful one«
Santa Fe, New Mexico 2015Mal Pais, Costa Rica 2017
MY: Contrast and movement come to mind right away in the pictures above. The sky can be an endless source for different tones as well as contrast, and you combined it with rough (abandoned train car) and soft (birds) elements. How important were the lenses to achieve this so called “extra punch” in the pictures? Also, what is the symbolism behind the birds? I get it this is a zine, not therapy…heheh
OP: Very, but just like a good tennis player can win tennis matches with a wooden raquet a good photographer can shoot wonders with very basic lenses. It’s all about framing a moment and it being a meaningful one. Regarding the birds… sometimes I capture birds and sometimes they just enter my frame. I am also convinced I was a bird in a previous life so might feel a pull to shoot them more often then someone who was not.
«B&W can surely set a mood that color sometimes can not«
LES NYC Film Screening 2016 Berlin 2016
MY: This is where we enter the true Freudian part of therapy the feature…which has since morphed into an interview or even better: a conversation. By removing color, I believe you want us to focus on particular subjects, which are the girl with her arms up in the theatre and the crown with a collective grin. Did you feel that film was boring too??? Kiiiidddddiinng…Would you say that you used black & white to direct viewers to specific targets? If so, can light and shadow have limitations? Or can they be as expressive (attention magnets) as colors?
OP: These two images in color just would not feel the same. I felt an attraction to that gal playing with her hair. Something about her movement in the mid depthness of the room drove me. She became the center of my attention and kinda felt like that is what she wanted. Having it black and white just feels a bit sexier to me. Yeah screw the film! Shooting the crowd in B&W ties the crowd together and creates a pattern like flow. In short B&W can surely set a mood that color sometimes can not.
«It’s all about being spontaneous»
Memphis, Tennessee 2014 Sunset Boulevard 2018
MY: Although quite different in nature, I find the pictures above to exemplify the concept of ‘unity’, where the reflection of the lady and the palm trees shrouded in the dark give both images a high degree of cohesion. So-called unified images usually come from a pre conceived idea. Did you take these two on the spot? Are there such things as spontaneous photos?
OP: If I were a photograper I would think of myself as a candid one. Most my photographs are shot on the spot, in manual, and without the use of artificial light. I find it sad when unable to capture that feeling which drives a photographer to want to shoot. But when you do it’s so satisfying. It’s all about spontaneous.
«Timing and yes balance is absolutely right when capturing the draw of the photograph«
Mediterranean 2015
MY: As I stare at this photo, I highlight ‘balance’. All asymmetrical elements (waves, sunset and boat) contrast with each other impeccably. In many ways, this photo incorporates elements from your previous work in terms of lines, colors, light and textures. Perfectioning balance and the elements of symmetry & asymmetry in photography can be worked on over the years? Or they are something that the universe shares with us once in a while and we need to capitalize on right away?
OP: I don’t know what is more difficult shooting on a boat or capturing an authentic expression at a wedding. Capturing movement while on water is very much as hard as capturing a persons true emotion without the pucker for example. Timing and yes balance is absolutely right when capturing the draw of the photograph.
«As in Fado, we find love in sadness«
Alfama, Lisbon 2015 Barra, Aveiro 2017
MY: Finally, let’s take on the mystic of these two photos. Taken in Portugal and intimate indeed. I take the liberty to also speak on behalf of the readers, please tell us what they mean to you. What feelings come about every time you’re there? Did you inadvertedly try to translate those while taking those pictures?
OP: Being portuguese, I’m tied to its history and in some sense have been in a relationship with this mystical place for most of my life. As in Fado, we find love in sadness and struggle but for some reason these two equate to romance. The pigeons add a second layer of romance to the pensive woman gazing out into the city streets and the retired women sit and chat on the seashore of Aveiro maybe pulled in by the pride of their rich fishing heritage in which there was much gain and loss.
Bonus!
A Brothel in Memphis 2014
Yes, there is a bonus!! Octavio has kindly shared with us a collection of songs that will be part of the first Music is Prana Spotify playlist. We’ve asked him to let us know what he is listening to at the moment with the hopes that these tracks will turn us into fearless Caminantes, just like him.
Is procrastination a side effect of Covid-19? Weeeeeellllll, for some of us that may be the case. Music is Prana had to be put on hold for a minute as the world was getting back to normal, and what better way to proceed in the zine’s duty of promoting independent thought than to tell you a bit about the ethereal Shangril-Lah Fest that took place in Madrid a few weeks back on August 29th.
The last days of August are a throwback to my early days where I’d get the angst of getting back to school and would try to do one last awesome thing before hitting the classroom. This year’s edition of Shangri-Lah did feel like that. But in this instance, that last awesome thing outdid everything I had enjoyed in the first half of the year. You’ll find out later in this article.
Impressive line-up
´Shangri-Lah’ itself stands for “mythical Himalayan utopia – a permanently happy land, isolated from the world”, which indeed matches the mantra of the festival. With an eclectic line up, attendees (including Carlota and Ade of indie heroes Hinds) were enchanted by the very awesome performances that were able to takes us away from the rigid post-Covid world into a different universe were the power of live music crushed the invading virus without any mercy.
Taking place at Madrid’s drive-in cinema, a carefully organized set up that broke the crowd into groups (see first picture) allowed for the spirit of rock to make its way as protector of light (insane blue skies) and as an enabler of cool (killer sunsets). I dusted out my camera in an effort to emulate photographer Octavio Pires (stay tuned for his feature in the zine!) and ventured into the party to snap a few pics.
Frantic punk quartet, drawing from the MC5 and Living Things, they came onstage with swagger of seasoned festival vets. I wonder if they’d still be rocking their shades if they’d be playing indoors??? They answer is yes!!! They are that cool….cool enough to play a Weezer like ballad that sung “nuestro amor”…if not a Spanish speaker, you should pick up on this lyric.
As a hip hop fan myself, I’m always on the lookout for the mighty 808 drum kick, which these guys used with precision + style. Their laid back rap deliveries blended perfectly with the break of sunset, and their honest energy managed to drive the hints of the menacing rain away. As an artist myself (Binary Drift) who has dabbled in bossa nova, I had yet to listen to a beat based on this music genre…Craneo & Lasser nailed it with “Pijama”! Props to producers Juan RIOS & Made in M.
With Hints of Annie and her seminal album “Anniemal”, this gal took to the stage as the day was dawning and the spirt of rock wanted to make her sound -and of course look- even more beautiful.
dreamier, yes!
Dreamy pop that made you want to dance and also pay attention to the words. She’s got a special way of singing, almost as if she was whispering the words to the listeners in a dream.
A power trio of dudes, yes their name is Mujeres (I’ll also spare the translation here). These guys were definitely raised on Green Day’s “Dookie” and Suede. They got the crowd to dance with their contagious melodies and beats…a total sign-along band. The night fell indeed, but their energy and the crowd’s only went up.
Now you can see two
Is there a there a magic trick to step on a distortion pedal and get the crowd rowdy? Not sure myself, ask these guys who have mastered it.
French trio who cleverly mix world music with electronica. Unique? Mmmmmm….oui. As their set went on I could sense dance music and Italo disco. I hadn’t encounter this level of mastery when blending styles since Chop Suey by System of a Down blasted through my car’s speakers in a New Jersey highway.
These guys sure tear it up in their own way
Other elements of their music included spoken word and the use of Georgian (later confirmed by the los Nastys’ bass player and fellow Peruvian Omar Montalvo), and unapologetic breakdowns that showcased the band’s ability to mix synth textures with melodies and guitar riffs – all working in consonance….that’s an SAT word ; )
Finally a DJ that can scratch and is not dancing to a pre made track
Every party needs a DJ, and Joris took to the stage with the perfect set to welcome the night and the stars that viewed over the magical fest and kept us all permanently happy, isolated from the world – at least for that fairylike last Saturday of August 2020, a date those in attendance won’t forget.
The perfect location for the festival
On a personal note I want to thank the organizers, particularly the great Rosa López, who kindly accredited this medium and who I look forward to interview soon to find out more of the behind the scenes and the motive behind the fest.
Shangri-Lah Fest was a much needed outlet for independent artists, who have shown that when the right forces come together there are no hurdles that can keep the everlasting light of hope, love and MUSIC away from the masses.
As I mentioned the day of the Festival and I’ll say it now, “May the power of live music live forever!!!”
We are looking forward to the mighty Shangri-Lah fest taking place this Sat at the Autocine Madrid RACE, hosting a crazy talented lineup including: Penny Necklace, Naked Family, Ley DJ, Murman Tsuladze, Los Nastys, Lasser, Joris Delacroix, + more!
The young songwriter takes the time tell us about the essence of her music.
Julia Bardo’s music is awesome, and so is she. Having been on tour in support of her debut EP ‘Phase’, and now enduring the existential global COVID-19 lockdown can make things hectic, yet she has agreed to do an interview with us. Some time ago, I had the pleasure to do a review of her latest single ‘Please Don’t Tell Me’, an alt-country gem soon to make everyone’s playlist. The review itself was made on assumptions –a la stasi-, which I now get to clarify.
My: Your writing style on ‘Please Don’t Tell Me’ lead to me draw comparisons to a Wes Anderson film. My reading was that the lyrics in the verses and choruses were dissimilar, yet it was their sum what let me draw my conclusion that this song is about soul searching. Was I sort of right? What is its overall message?
JB: Thank you, it’s beautiful for my music to be compared to a film, especially a Wes Anderson one. Definitely is about soul searching. I think it’s about authenticity, being able to look at yourself in the mirror and recognise the person you see in the reflection. I remember when I was younger I kept on thinking “I can’t wait to be 25 so I am gonna know who I finally am” but it hasn’t happened yet, I am still on this path and I think the research is never going to end.
MY: Some of the guitar parts in “Lonely Morning”, and the strings in ‘I Wanna Feel Love’ could easily belong in an Ennio Morricone score. Do you tap on other art forms (e.g. film) for inspiration?
JB: (Thanks, again, for the compliment.) Film is my second biggest passion, I am inspired indirectly by what I watch and what I see, more by the images than the story itself. Images have such a powerful meaning to me, more than words. I’ve never been able to explain myself properly and what goes through my head, but if I think about an image I can describe my feeling as a metaphor and write about it, it’s easier for me.
Image courtesy of Julia’s instagram
MY: I came across one of your quotes were you state that you’ve always been very lonely. The lyrics for ‘Into Your Eyes’ also touch upon this, and the title for ‘Lonely Morning’ speaks for itself. Creativity and loneliness do go hand in hand. Is loneliness the spark that gets you to start writing material? Do you find yourself writing songs all the time?
JB: I only write when I am sad or angry or when I feel empty, when I feel defeated, for some reason. I am not the type of person that sits down thinking “Oh, today I want to write a song”. I don’t decide when I write a song, it just comes to me in moments like these, when I get inspired by what I feel and when I am alone.
MY: Every songwriter has that moment where they heard a song or watched a music video that inspired them to say: “I’m gonna do that!” What artist/song did it for you? How old and where were you?
JB: To be completely honest with you, my role model when I was a child were The Destiny’s Child, Jamelia and Ciara and R&B in general was my favourite music. I used to sing their songs all the time and pretending I was in a music video. I was also in love with 60s Italian music like Lucio Battisti, Mina, Ornella Vanoni, Patty Pravo (and many more) because my parents used to listen to their songs all the time. I was about 8 years old and I used to live with my family in our old house in Italy.
MY: Finally, you produced ‘Phase’ with Henry Carlyle from the Orielles. How did he react when you did the spoken word in Italian on ‘I Wanna Feel Love’?? My Italian is pretty rusty, but you sure sold me on the idea…you Italians, doing it all in style!!!
JB: Hahaha, he loves when I speak Italian (or, at least is what he makes me believe!) and I am trying to teach him some words for when we go back to Italy to meet my parents, as they can’t speak English at all. I didn’t plan on singing in Italian in “I Wanna Feel Love” but I came up with the idea when we were in the studio, so I wrote something down and sang it and Henry and Joel loved it straight away so we kept it!
“México lindo y querido”, yes indeed! Those of us that have made it over can attest to that phrase, as Mexicans are really welcoming and the country has a rich ancestral culture, add the food and the scenery which make Mexico a place worth visiting a thousand times over. With that said, I’d like to coin a new phrase: “La músicia Mexicana siempre sorprende”. That roughly translates into: “Mexican music will always surprise you”. I note that the country is without a doubt the epicentre of música en español. Historically, acts from hispanoamerica have ‘made it’ upon winning over Mexican audiences, to then return home proudly wearing the much sought after stripe. A stripe of respect. That can perhaps explain my affinity with the Mexican scene, a scene that has given us icons such as Juan Gabriel and Luis Miguel, chart topping trip hop Plastilina Mosh and Control Machete, pop princess Julieta Venegas, and the reining kings of the desmadreCafé Tacuba.
…After this intro, I should maybe try to get a job with the Mexican Ministry of Culture or Tourism writing adds…But enough of this Chabelo moment!, I take to the zine to interview the mero mero Roberto Mauricio Martinez, A.K.A. The Poetry. Jokes aside, and getting back to my newly coined phrase, this is an artist that has surprised me, and I now have the pleasure to interview on Music is Prana.
MY: I’m intrigued by the words of ‘Out of my Body’: “Somebody is flying / maybe could be my soul…that is somebody / Out of My body”. When I reviewed it, my reading was that this song had to do with an out of body experience, is that the case? If not, what are you trying to convey? What is this song about?
RM: Yes of course, Ever since I was a teenager, I’ve been drawn to mysticism, darkness and supernatural things, as well as melancholy. Is funny, I remember watching Youtube tutorials on how to have an out of body experience.
Someone close to me told me about his experience in a crude way, but I could see the fear in his eyes. A lot of people are terrified of such experience. Nevertheless, I believe there are those with very advanced mental capacities.
MY: In this song you channel Paul Banks’ –via Ian Curtis- croon, Kraftwerk textures, and Gang of Four drums, yet you manage to make it your own, as in it sounds like the Poetry. Did you get into post punk before writing the song, or did you realize that it had that flare afterwards? Who were the guys on the posters while growing up?
RM: Post punk, new wave and brit pop have been part of the soundtrack of my life. The Cure is my favourite band. For this song I was inspired by bands like modern English, New Order and the first album by Ministry. I wanted the song to be dark and danceable at the same time.
MY: In the intro I mentioned the Mexican scene which largely -and rightfully so- has acts singing in Spanish. Nevertheless, over the years there have been bands coming out of Mexico singing in English. Namely, Rey Pila, le Butcherettes, and now the Poetry. What drove you into using English as opposed to Spanish (or another language)? Would you say it is a reflection of globalisation, where English has become the world’s lingua franca?…..I ask myself that every morning as I live in Madrid, and perform and run a music zine in English.…
RM: Well, it is true that there are many native Latin musicians who venture on doing music in English. This has happened since the 1960s, bands like «The Revolution of Emiliano Zapata» from Guadalajara that had the song «Nasty Sex» as a hit in the United States and Europe.
Some people say “Dude, it is not your mother language, you will not be able to convey a real feeling.
…OMG, if Anglo pop stars sing in Spanish, why can’t I sing in a language I’m not a native of?
I’ve been singing and writing in Spanish my whole life, also I am in another indie rock project in Mexico City. In the case of The Poetry I see it as an opportunity to break stereotypes and demonstrate that the people who live in LATAM and Spain are doing really innovative things.
In my case, I do not rule out crafting songs in either language in the future.
MY: For the video of the song, the credits read edited by Roberto Martinez and filmed by Daniela Solis. Tell us about your collaboration, how did it come about? Did you have an idea in mind and thought of her to translate it into film? Did she approach you? What is the concept behind the video?
RM: For this project, and particularly for that song, I applied the do-it-yourself (DIY) concept. Improvisation is something that has been part of my life. When doing this video I wanted it to have the same vibe as when I’m doing a show or performance with any project. Therefore, I resorted to a simple scenography with candles which symbolise removing bad energy from the environment.
For the shooting, Daniela and I basically improvised with the scenes as we wanted ‘Out of my Body’ to embody the ‘low fi’ genre.
MY: Finally, we now live in the digital era and music is now longer subject to the totalitarian monopolies of classic outlets like radio and TV, the internet allows it to move freely at a global scale. As an artist, do you feel that digital platforms are making scenes in general more “democratic”? Mexico is a big country, yet I assume Mexico City has been the dominant cultural force. Is the internet allowing artists from other provinces reach other parts of the country? Are there examples of these artists drawing Mexico City audiences to them? Tell us about your own experience.
RM: I think Mexico City is like a Latin American Hollywood, this city processes all artists, most of them from another states or from South America.
I lived in Mexico City for about seven years and I can tell you that the competition is enormous, a lot of very good projects looking for a place in the industry, every time there are fewer venues, and you have to go through corrupt promoters who just want to get a cut of what you are supposed to be getting.
I definitely feel that in these times of crisis, the industry is more equitable since the internet is a weapon in our favour. It is up to us the artists to break stereotypes as this will allow us to get the attention of the vast LATAM fans and scene.
