• Joaquín Sabina "I am not going to return to the stage until people can go without a mask and dance"

  • Leiva "There is a lot of machismo in rock"

Leiva is the survivor of the wreck of pop-rock.

The

mainstream

replaced the genre with everything that sounded Latin and the singer, with the hat, the cigarettes, the pose of an eternal thirty-something, the Mahou and

Lady Madrid

clung to the festivals, the radios, the lifeline of nostalgia for the singing hymns.

His new album,

When You Bite Your Lip

, is a functional artifact. It could be said that their songs speak of reality, but is the description of the theme park that cities are a reality?

The entertainment that Netflix offers, diazepam to treat the anxieties caused by a ruined context, expressions such as "this is very

black mirror

"

or "all the fucking time" make up the lyrics that seek to remain in the

scavenger

ecosystem

. The references will not be incorporated into the street because they already are: Leiva has enough nose to know that at Christmas dinners groups of office workers will sing his verses about fast food.

He does not want to confirm whether Sabina's diaries include her will.

They made an exchange: he handed over

the

guitar and received the vital legacy of the legendary singer-songwriter.

A showcase of intimacies of the author of

19 days and 500 nights

. Although it is an album of collaborations, all female, Leiva is not back. It is not the tribute party of the last figure of a style that is dying out.

In the

mainstream

, Latin rhythms have displaced indie, pop-rock. It may be the last remaining popr-ock landmark. In 2007 and 2008 the stadiums were filled with pop rock. Later it was indie. What happened? Well, there is a generation doing something very beast. I no longer say reggaeton, which I do not control, but the urban movement,

hiphop

,

trap

, from Latin America is tremendous. I listen to Prox, de la Osa, Foyone. I understand that they take over the scene. I have some conclusions because I have taken the trouble to investigate it: there is something very beast. They are very talented people. 20 years have passed since the release of the first Pereza album. Have you been tempted to ... It was 2001, right? Well, I hadn't thought about it. So you can see the disconnect that I have: you just gave me the news. I wanted to ask him if he was tempted to pay tribute to the group. As Dani Martín has done with El canto del loco. I have not had any temptation. Any movement related to doing band things, getting together with bands, paying tribute to bands, has to really feel like it, be so cool. In other words, to everything that not at the moment.

Lady madrid

became a hymn. What's behind the subject? I wrote it at one point. By a friend who entered the neighborhood. We all really liked it. From what you see ... She, without realizing it, was causing a hurricane. It was a song that had no relevance to me at first. It is very simple. It is made of three chords. The logical thing is that songs that become hymns - I'm ashamed to say. I don't say hymn. I prefer popular songs- they do it after having had an important radio process that

Lady Madrid

did not have. It was not

single

. It did not go through the radios. It is a

popular

single

. People chose it. It's funny: the most important song in my repertoire has never sounded as a

single

How about hypochondria? Much better. I thought it would be worse. During the pandemic I have traveled a lot. I recorded this album in Mexico. I have lived with fear a lot. In that aspect I think I am in a good moment. As a friend of mine said, I am afraid of rare diseases. In principle, such a mainstream disease did not scare me. What is the project you have in hand in Chicago? Several friends started a band. They're Mexican. Jay de la Cueva, from Molotov. Adam Jodorowsky, the son of Alejandro Jodorowksy. And the singer-songwriter David de Aguilar. Together we have recorded an album in Chicago. In analog, on two tracks, prebeatles. I went to live in Mexico during part of the tough months of the pandemic. I lived with Adam a lot. We'd hang out, put together a band of musicians, and ended up recording in Chicago. They spent many months living together.

I have not been tempted to pay homage to Sloth

I have to confess: that allusion to the game by game he made with Joaquín Sabina bores me a bit. Why did you use the football simile? Beyond what bores you, the important thing is what happens to me. It seemed to me a motto of the present at a time when you could die in four days, your family could die. It seemed to us that transferring the philosophy of the club, of the club of my loves - I have always been from Atleti - was a good idea at a time like the one we were experiencing. The video starts with your signatures and the slogan Another way of seeing life. Who are they, who are the ones who have another way of seeing life? Why do you feel identified? It is very well explained in that spot in which the child asked why are we from Atleti? It is a club that has known how to lose with a lot of sportsmanship.He has had a hobby that has lived with defeat in a healthy way and with a lot of race. They are values ​​that I like. It is true that my club seemed an eternal loser but now it is a winning club. Going with the pity that we know losing is no longer worth it because we compete to win. In any case, it is another way of understanding the competition. Through thick and thin, the fans do something poignant. Now I am aware that child I was moved by those things. You don't choose a team in a wise way. My father was from Bilbao, my brothers from Barça. I think I was inspired by a kid from my school who was a great porterazo. I admired him, we would be five or six years old, it would be that way, through some idol who was from Atleti.What relationship does he have with Joaquín Sabina? What exchange is there between you? We have an almost family relationship.It began with a friendship relationship, after the admiration that I already had for him. That friendship lasted for years until we began to be intimate, to work, to live practically together. I spent a year at his house, composing, traveling, playing around the world. I played with Sabina in Paris, Buenos Aires, London, Argentina, in many places, in Mexico as well. It is already a family relationship. See you a lot in Madrid. We eat, we have dinner, we spend Christmas together, we go on vacation in the summer. You can extract a multitude of things. Joaquín is a tall storyteller. Thanks to him I have improved a lot on a lyrical level. He was telling me about internal rhyme. Of the musicality of the text without falling into the classic rhymes, assonance or consonant. He handles that with great skill. It has changed the way I look at things.Taking solemnity from our profession is fundamental. He has stayed afloat thanks to a sense of humor.

There are many female artists in Mexico. I'm very hooked on being there

I have read him talking nostalgically about his nights out with Sabina. Not really. They are now at home. Look, Jimena, Joaquín and I, the three of us, many many nights, we ended up drinking until late, laughing and drunk. It is quite a recurring thing. Sometimes Benjamin is there. In summer we were with Luis García Montero, Almudena Grandes. We organize dinners, long nights. I understand that there was an exchange of gifts between Sabina and you. She gave him her favorite guitar and he gave her his diary. There was a specific guitar with which I composed the songs of the last album. There came a point where it seemed to me that it belonged to him. It has more to do with you than me, I said. I knew that I would understand it well. It was a gift for those who hurt. After a while, he was playing at the Wizink center. Joaquin came,that is no longer going anywhere. And he gave me his journal. There are annotated poems, songs, hundreds of drawings, notes with political views, reflections, notes. As I have learned, there is also his will [Surprised] What is inside is left for me. I've sniffed everything. I go reviewing, seeing things. Joaquin has illegible handwriting, making it difficult to get close. I keep it with a lot of love. He has recorded When you bite your lip in Mexico. What have you found there? An artistic concern. During the recording I created a gang. I am very restless. There are many female artists. We have worked, composed music, we have also eaten, dined, we have made a deep friendship. I'm pretty hooked on being around there. All collaborations are female. What has been the criterion for choosing them? It has been an organic criterion.Although it has a feminist message, it is not a plea. There is a powerful scene of extremely talented women: 90% of what I hear belongs to the community of women I have met in Latin America. I am a front-line witness to something extraordinary happening. There is a generation of twenty-something with overwhelming talent. They are young people modernizing folklore. Like, for example, Silvana Estrada, who does folklore with one foot in the forefront. That has been the engine to make the album. Share it with them. Write for them. What music do you listen to. I listen to hip hop. For almost a year I have been delving deeply into that style in Spanish. Do you have the feeling that you have risked little with this album? No, I do not know. I never write directed by what people can expect of me. I have been very free.I have written what I wanted.

According to the criteria of The Trust Project

Know more

  • Mexico

  • culture

  • music

  • Pop

  • Rock

  • Joaquin Sabina

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