is a common thing in this business have to explain the music you make, it seems very normal and logical, but until you try it you realize how absurd it is, especially when the philosophy of what you mean spend by lining descriptive conventions and forget about genres, styles and trends.
I usually create grotesque and embarrassing situations in which they remained hopelessly badly.
"... pueees is cooomo" pfffff, is appalling.
I've a lot of ink and wasted many hours of discussion trying to define what it is exocet beyond being a newspaper and so do I have to avoid saying too much. This time I'll try another way , to see if now I come to something.
There are essentially two ways that complement each other:
The one comes from the music I've heard all my life: pop song format. Understood by that pop ranging from jazz standards to the clash . That is the way song, with verses, choruses and contrasts.
The song is common to almost everyone on the planet is something that binds us, something that, despite the prominence of the voice, the tongue goes into the background.
is a universal vehicle. We enjoy songs in Swahili, in Breton or Purépecha but not understand a word of what they tell us: the music is so powerful that all we need to invent our own history.
The other has to do with the personal, the need to find and express their own musical identity, not without influence, but ultimately something I can call my own. With the how to make the songs reflect my life, my privacy, my step this ephemeral world.
how it manifests itself in music?
Here I stop at a couple of things:
On one side is trying to achieve that harmony has various colors and shades. I do not seek complication or complexity, but the chords detonate the atmosphere on which the song is to swim.
This phase of work usually do at the piano, before getting to programming. Possibly the piano track will then be discarded and the voices of the chord redistributed to give subtlety to the harmonic motion.
The second thing that I pay particular attention is the sound, which is like the skin of the song, and here I like to contrast timbres ear known as pianos, guitars, etc., with atmospheres specially built for each subject either by synthesis, samples or other techniques.
I like unusual sources, I like how ineractúa sound over another, as noise becomes music and vice versa. I like that border and I enjoy arousing.
Each song represents a unique moment, and therefore must have a special sound.
This route takes me farther and farther away from the taste of people, but I approach the illusion of my sound, which is the main reason for the job.
Who knows why, pure folly.
The latter laying me question is often the language, why a Mexican writing in English?
This question has taken away the dream, I have suffered enough and has had several answers, all unsatisfactory.
The more honest I think it's this:
When I start working on the voice of a song 99% of the time I have not written a word of the lyrics, and what I do is to test against music melodies trying connect with the most intuitive and irrational in my brain, because I realize that the voice is more expressive than going to be on the track and I'm interested to have an emotional charge.
In this search of the melody the words automatically come in English, I guess because most of the music I like is in that language to talk to horses, and because it's easier to flow well, without having to worry about rationalizing. Usually this process
words or phrases that appear in a semi-conscious I end by suggesting the basic ideas of the letter, and the times I've stopped translating the failure has been dismal: the sound does not convince me and the words are too tight. I guess that's a sign that I'm pretty bad at writing, and must be true because it does not bother me. I've always been the voice (if I may) as an instrument. For the words I prefer books.
I do not care too much what people say singers. Most of the time I disappointed when I pay attention.
The lyrics of my songs have to be unintelligible to the listener. They always talk about intimacy, things that hurt, insecurity and fear, but perhaps only codes that I understand. Again I do not care. The only thing I try to tell the truth, or lie, which is not the same.
was not very clear.
the end will be better to have that every week I receive an anonymous call to a voice sensualísima I hum the songs to your ear, or that come in lucid dreams while flying over Lake Tanganyika (that would love to certain people I know who are the mystics are) or that are lost songs from Milli Vanilli ...
If everything is a lie why not say it's music for horses?
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