Rocío Márquez: "I defend inclusive and diverse flamenco"

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The cantaora

(Huelva, 1985) began in flamenco along the most purist path.

Singing in competitions and flamenco clubs since she was a child, she won the Mining Lamp fourteen years ago at the

in Murcia, a classic of the most orthodox flamenco.

She delved into her art and did a doctoral thesis on vocal technique in flamenco.

She got A

.

But soon he began to mix with other music and get on the same stages as jazz artists,

or rock groups and also DJs.

"If not, I'll get bored", launches the cantaora.

But he had never gone as far as with his new album,

(Universal), cooked over a very slow fire with urban and electronic music producer

,

.

Free flamenco from the electronic rebellion, if that's possible.

«Yes, it has been a

because, when you let go of what you know and allow yourself other things, a box opens up that is not controlled, but which is very flamenco.

Flamenco is not limiting, perhaps it was I who was limiting myself».

And Rocío let her hair down.

But, is this flamenco? At another time in my life, I would be determined to vehemently say yes, it is flamenco, but right now I don't have that need.

We have done it from that vision and we feel it and we defend it that way, but I respect all the opinions that may be generated because we defend an inclusive and diverse flamenco. Why is it flamenco? Because of the styles and melodies of flamenco and folklore, in addition to harmony, beat and lyrics.

That is the obvious, but above it is the attitude.

I told Santi that he was already flamenco before making this album, because of his attitude and viscerality.

But Santi, Bronquio, who comes from the world of

, lived completely oblivious to flamenco, although he was familiar with it because in his town, Jerez, there is a "cult" of this art and, if you have a

, is something that "you can show off at school".

And flamenco is something that is there, floating in the environment: "in town festivals and in bars," admits Bronquio.

And, basically, there are

between electronic music and flamenco.

«I have found links where apparently there are none, especially in folklore.

The palo de los verdiales has to do with the

... », illustrates Bronquio.

«And with the

», adds Rocío, who perceives

in both sound universes.

Rocío Márquez.JAVI MARTÍNEZ

By

between flamenco and electronics, Rocío Márquez and Bronquio have not tried to make a "search for originality" or a "show of avant-garde" because that mix is ​​already "being done".

It is a "logical and contemporary" step because now the hegemonic is electronics.

«It is the tool that there is, to which the artists who start go.

», says Bronquio.

Tercer Cielo

is full of literary and poetic references.

There are lyrics by contemporary authors, such as

,

,

,

or Rocío Márquez herself.

There are also

,

,

or

himself .

Rocío Márquez and Bronquio have worked for

on the album.

They spent entire weeks

the cantaora's house, watching documentaries, listening to music, discovering groups and creating.

"With ups and downs."

It was in the post-pandemic, just after the hardest confinement of the coronavirus crisis.

"We didn't have a job, but we did have a lot of desire to create," Rocío clarifies.

For Bronquio, the 17 themes of

, would not have been possible "not even a joke" in another ecosystem that had not been that one.

And, on top of that, "these collaborations are good to

and to learn," concludes Rocío.

And this electronic, mestizo,

and root flamenco, where is it going to sound? I would like it to be at Sónar and at a flamenco club, which for me is something very exotic, although we may get a bottle of JB on our faces And Rocío doesn't like it very much.

But the cantaora replies «why not?».

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