Wayo, un viajero del tiempo decidido a unir con la música

…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!

La Música Une!

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Julia Bardo, in the path of soul-searching

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!

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The Poetry shares his interesting insights about his craft and the music scene

Roberto doesn’t disappoint!

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 desmadre Café 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.

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Catching up with Daniel Manrique-Smith of the world touring jazz-fusion Jin Jim

Daniel shares his latest thoughts on music and his plans

Unlike other artists I interview in this zine I happen to be friends with Daniel. Our friendship spans almost 30 years going back to our mother country of Peru. Over the years there have been periods where we have lost touch, yet my admiration for his talent as a musician (and as a person) has remained intact. Whilst I was trying to figure out notes on the bass listening to Nirvana songs, Daniel was a rising star in Lima’s music conservatory, which led him to further his studies at the both very prestigious Frankfurt University of Music and Performing Arts and the Cologne University of Music in Germany, a place he has called home for over 20 years. It is there where he has made a name for himself as the flute player for the world-touring jazz fusion band Jin Jim, releasing two LPs: 2015’s Die Ankunft and 2018’s Weiße Schatten; and playing with stablished acts such as: it Paulo Álvares, Dee Dee Bridgewater, Djalma Corrêa, Claudio Puntin, just to name a few. Recently, I had a chance to reconnect with Daniel and asked him to feature in the zine, an offer he kindly accepted.

MY: I often hear people say that a jazz musician can’t play the same three notes in a row, and I reply: “Jazz to me is synonym with improvisation, you can’t stop a player from letting their creativity out!” With that said, you also need some sort of structure when putting together songs. How does the writing process work with your band Jin Jim (consisting of drums, guitar, bass, and a flute) start? Everyone starts playing until there is a groove? Or it is a case of someone bringing an idea for the others to add to? At a given time, does a member “direct” the improvisation to make things fit a format?

DM: Well, we do not write songs together. One of us brings a composition that is already finished and we work with the tune. The melody, harmony and idea for the groove is most of the time already in the composer’s head. Then we play the tune in the way that the composer imagines it and all the band members contribute with ideas for the arrangement. The most difficult part in the process of arranging a new tune is always the sound I think. For example when the other band members writes a melody then do not know really how it will sound with the flute or which flute (I play c-, alto and bassflute) will be the right for the tune. So I have to decide it when I hear the kind of groove and energy that needs the tune. With the improvisation we try always to keep it as free as possible. 

MY: In my question above I mentioned improvisation, which I also believe has to do with a surprise factor. I’ve witnessed interactions where for instance a drummer will add new colors to his style to cater to a bass player he hadn’t played with before. I could see it in his face that he had been caught off guard in a good way. After playing in Jin Jim for some years now -and perhaps having a pretty good idea of everyone’s playing- how do you keep the band’s dynamic fun? I had to use the drummer examples as the beats (polyrhythms) in the Jin Jim catalogue are very complex. 

DM: I think that we have to secrets to keep the band’s dynamic fun alive. The first one is the music itself that we play. Every tune we play is a big technical and musical challenge for us. We work all the time with complex odd timings (like 13/8, 11/8, 9/4, etc.), that needs a lot of work in order to be able to play it relaxed and confident. The other secret is that we try to keep the improvisation always as open as possible and we try always to surprise us playing live, looking for new ways and ideas in every concert. It is always very impressive to see how much can influence the first solo of a concert or a tune the rest of the band. When one soloist a lot of new things try then the other band members begin to play much more inspired for the rest of the concert. 

MY: You have toured Africa over the years, playing in Cameroon, Madagascar, Congo, Angola, Sudan and South Africa. Música Criolla is the local music of where you and I are from, and is heavily influenced by Afro-Peruvian music. While sharing the stage with local acts in your tours of Africa did you sense that you had come to face with the roots of Música Criolla? Tells us about your impression. 

DM: It is incredible how strong and deep Afro-Peruvian music has influenced me and my way to play. For example I feel always absolutely comfortable with music in 12/8 or 6/8. That is because the Festejo is played in 12/8 or 6/8. So when I play something in this kind of metric then I have a lot of musical language that I can use without thinking about it. It happens in a very natural and organic way. I cannot say that I have found the roots of our Música Criolla but I certainly found a very strong connection with music from africa and I felt that my connection deeply than the connection of my german colleagues was. 

MY: The video you shared with us reads “Solo Project”, and you very impressively ‘reconstruct’ the maestro’s Astor Piazzolla classic Libertango layering beats and textures using a loop machine (WARNING: This zine is not responsible for anyone binging for hours on the masterpiece above). My assessment is that you wage a war against the composition itself by recreating in your own way. Are we going to see more of this in 2020? Although there are metrics that you are aware of, you unleash your imagination (using the term improvisation again would have been tiresome for the readers…) with a very jovial attitude. You’ve been found out!!!! How much fun are you having? Is music about having a good time? Is it always about that for you? 

DM: My Solo Project is my newest musical project. I certainly want to play so many gigs as possible with this new project. So far I have three concert-proposals for this year. But with the Coronavirus I do not know if they maybe will be delayed. Music is always about having fun for me. That is the reason why I make music. I have so much fun just practising at home, trying to get a better player and trying to discover new possibilities with my instrument. And playing live is sometimes like taking drugs because of all the energy and adrenaline that we get from the audience.

MY: Finally, you have a classical background and have developed a career in jazz. Tell us how did you come across a loop machine? Who suggested it to you? You can’t hand it a score you’ve written for it to play, how do you approach it? Do you prepare in advance the segments you loop, or you just play on the spot?

DM: This year I was supposed to move with my family (wife and son) to Leipzig. Leipzig is around 500 Km from Bonn where I live now. That would have been a very big change for me. Jin Jim was the only project that had enough structure to survive with me living so far away. So I had to think on new projects in order to survive as a musician. So I started a duo project with the amazing Diego Pinera. He is a drummer from Uruguay that lives in Berlin and I have been working with him since 2018 when I was invited to record 4 tunes for his album Despertando by ACT-music. And I also started to think about trying something alone with flutes, loops and effects. I just wanted to have some projects that I could play with beside Jin Jim. I already used an effect machine (TC-Helicon Voice Live 2) with Jin Jim. But the loop possibilities were very limited and not enough for the ideas that I had in my head. And I went to Berlin last year in august in order to rehearse and record some music with Diego in Duo. We planned DM:three days in Berlin to practice, rehearse and make a promo-video together. But when I was in Berlin I realised that I forgot some cables that I needed to rehearse with Diego. So I went to a very big music store in order to buy that cable that I needed and I came back with a new loop and effect machine (Boss RC-505)  for 500 €. And I used it immediately in the duo project and later on my solo project. 

Catch Jin Jim and their live web stream from the Blue in Green Recording Studio this March 28th through this link!!

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Nation of Language, aligned with the metrics of cool

Catching up with NoL’s frontman Ian Devaney

For my review of Nation of Language’s ‘Tournament’ I managed to throw around words such as alchemy and introspective, and drop the names of Peter Hook and Yazoo, all in an effort to have my writing match the very intriguing nature of the band. Everything from their line-up, SOUND, lyrics, and of course name is aligned with the metrics of cool. This coolness includes their positive response to doing an interview.

At the time of press the corona virus has taken the world hostage, but not NoL who have soldiered on and done an interview for Music is Prana to defy the music industry and the Department of Health. We caught up with NoL’s frontman Ian Devaney via the magic of surveillance the internet.

MY: In musical terms the word trio is associated with guitar, bass, and drums; yet NoL features vocals, synth, and bass. Was this line up premeditated? Did NoL have an earlier incarnation that featured classic elements of rock such as drums or guitar? Or was it a case of searching for the NoL SOUND (capital letters indeed) that resulted “dropping” instruments in the process?

ID: We did have earlier versions of the band with drums, but we arrived at this lineup through a combination of wanting to focus more on the drum machine sound, and the simplicity of keeping the band at 3 people. So much of getting a band off the ground is just getting out and playing shows – the fewer number of people in the band and the less gear, the easier it is to be mobile and adapt. Eliminating live drums allowed us to tour in small vehicles, or even on public transportation in the case of our European trips

Picture courtesy of instagram.com/nationoflanguage

MY: No act out there sounds like you. It is fair to say that you have a unique sound (I didn’t capitalize it as I didn’t want to irritate the band). How does the writing process start? Do you tend to write in the studio? If so, do use the studio as another instrument to get the right textures and effects? 

ID: While I don’t know a lot of bands that share our sound, I think there are enough to say we’re not completely alone. There is a cool movement of bands making synth music with similar influences, and it’s exciting to see how each one pans out slightly differently. Writing is all done at home and generally starts with the beat or a synth arpeggio, and I just improvise off of that. My understanding of recording technology is pretty elementary but I do like experimenting with it in search of a sound. 

MY: As a New York band now on tour, what has been the response of audiences in other US cities? Is there a place outside of New York that you always look forward to play?

ID: We’ve had great responses on tour – I think people can see and appreciate how much the live show means to us. 

Seattle, Los Angeles, and Chicago stand out as cities where we’ve always had a great time. There are also plenty of smaller cities like Louisville that we’ve only played once but really look forward to returning to.    

MY: Your first full length ‘Presence’ is out in April this year, yet you have gained an impressive presence in the scene by releasing singles long before having put out an album. With that said, would you say that singles now carry more weight in the industry (a word I hate). Does the title ‘Presence’ relate to the beginning of this question? If not, where does it come from?

ID: The full title is actually «Introduction / Presence» – it largely stems from the idea that this is our first LP but we’ve actually been around for a little while. I think singles are really important in this current music landscape, but in some ways that is just a return to the way things used to be in the earliest days of the industry as we know it. I don’t have any particular problem with the way things are shifting – I like the idea of having both full albums and random singles so it’s an exciting time.   

MY: Finally, will you be touring Europe any time soon? Please tell me you’ll be playing Madrid!!

ID: No definite plans just yet but hopefully some time later this summer or fall we will make it over.

Thanks

Ian

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