Not only the recognition of my work, but also that of all the people who have been part of the album such as the producers Joana Gomila and Laia Vallès; those who have accompanied me on stage, Ada Elionor; the people who made my costumes, in the case of Aina Crespí; and those who have helped me with production, like Carlos Medina. Receiving an award is always a surprise, and it also encourages and gives you recognition. But when you are already convinced of what you are doing and you have close people who support you, then you don’t go looking for it. What I seek is to be consistent with my speech, with myself when making music. The prize is always a joy but not a goal.
Júlia Colom, Mar Grimalt and Da Souza, among those awarded by Enderrock at the 6th Balearic Music Awards
It is not his first award: he already won the Concurs Sons de la Mediterrània de Manresa, an award that opened some doors for him.
Thanks to that first prize, I considered leaving my profession, that of music therapist, and I abandoned the socio-health field; I considered stopping, making an album and also joining Esadib. That award was the sign I was waiting for, without knowing it, it suddenly arrived and changed all my plans. It made me look at myself and value music. Over time I have learned that music is a craft, that you learn by doing, singing and playing, and also by enjoying it. I believe in music arising from emotion, from the heart. All my songs talk about me, and about my darkest things, those that I cannot let out in my daily life and that are transformed with music.
Before I mentioned Ada Elionor, Joana Gomila and Laia Vallès, pillars of Espurnes and Coralls. What have each of them contributed?
Joana Gomila and Laia Vallès have been the doors to experimentation. I came from being very analog on a musical level and they have opened a path for me, helping me enter a universe that I believed was not for me. I listened to artists like Maria Arnal or Rodrigo Cuevas, who experiments a lot with electronics, and suddenly thanks to them I have been able to take a step closer and get closer to that music that I would like to make in the future. Ada Elionor, for her part, is a friend who has given me a lot of peace of mind, she is someone I love and with whom I connect in a vital way. For me it is essential to have a team with which I feel related.
An album that was born from a purpose: to honor the work of his family, who had a vibrating and prestressed, gravel and cement factory.
I have always rejected the factory as a concept, because we live on an island full of cement, there is very little land left, and knowing that my family contributed to Mallorca becoming grayer than it already was was like a stone. When I was little I played with mountains of gravel and had a blast, but the moment I started to be aware—climate change, ecology and all this—I started to really hate everything that had to do with business and cement. . For me this album has been like a reconciliation with my industrial roots, that is, when my father was 14 years old and drove the truck he did it to eat, it was his job, the one that gave him his daily bread and allowed him to raise his children. his daughter when he became a widower. Deep down my roots are industrial, although I didn’t want to see it.
Can you love a paradise dressed in cement like Mallorca?
I think so because I have started to see it from the forms. A straight line can be as beautiful as the trunk of a crooked tree, and at the end of the day it is what we have created together, and we have to learn to see it aesthetically. The skeleton of a building is already part of the landscape, that is, we have to learn to love, they are the disasters that we have committed and we must keep them in mind so as not to trip over the same stone again. The same thing happens with historical memory.
When did you know that music was going to accompany you all your life?
My mother says that when I first cried she saw that I had a very powerful voice. I remember that when she was little she had some cassette tapes and a recorder with which she played singing and making up many songs. My first instrument was the voice, before percussion and everything else.
You who sing to your fears, will excess tourism one day enter your repertoire?
Why not? One of my fears is being invaded and not having a community with which I feel in tune or with which I can have a common identity. I am afraid of not being able to speak Catalan in the future with the people around me because they speak German, Russian or English and are not involved with the traditions of the island or are not interested in the cultural richness of Mallorca.
Among the nine songs there are two poems set to music, one by Miquel Bauçà (Collection of verses) and another by Damià Huguet (Uselessness). Why did he choose them?
Damià Huguet had a construction materials factory, dedicated to concrete beams, and for me, finding an artist who had a side linked to the industry made me empathize a lot and not feel so guilty about the whole cement issue. I chose Miquel Bauçà because he is a poet from my town, Felanitx, a rather forgotten poet, very eccentric and special. When I was young I didn’t like it but as I’ve gotten older I’ve understood the irony of it. They have both helped me say things in a way that I wouldn’t say them myself. Thanks to his words, my music has punch and a lot of strength.
Which voice will you never forget?
My mother’s. When she was little she made poems and sang them to me.
Does your music bring pleasure, is it balsamic, like the music therapy you know so well?
For me, yes, but for the listener it can produce contradictory sensations, especially if you listen to a single song, because mine is not a quiet album, it has a lot of noises, screams and machines, although the melody line is very nice.
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