Judeline: "I feel proud of not being a viral singer"

"I was 17 years old, almost just turned 17, and I was very excited," explains Lara Fernández Castrelo, Judeline, about the moment she found out that Alizzmusician known for his productions for C. Tangana, Rosalia or Amaia, I had selected her to sing Broken about one of his rhythms given to emerging artists within the Declassified project. It was during the quarantine and both she and her sister reacted by "jumping around the house and crying."

Despite her youth, Judeline "had always been clear that she was going to be a singer", a future for which she has been preparing "since she was a child". The public support of such an outstanding artist was "a signal" that the time was approaching to "take music as a daily job". Even today she remembers with vertigo "the madness" of personally meeting Alizz and C. Tangana in the studio and finding out that that beat was, precisely, a discarded Idol.

As the title of one of her first singles affirms, moving to Madrid was a correct decision that "has changed her life". The real reason, "to earn a living singing", was different from the excuse with which she convinced her parents, "to do art high school". Her popularity on the scene, a slow but unstoppable rise, has meant that "music has eaten up the studios."

To this has contributed the "gang" formed in the capital with three other young artists, the singer ODDLIQUOR and the producers May Y you had. She worked with the latter, "during the quarantine, exchanging a lot of music", after putting them in contact with another producer, Trillfox, from Porto, who helped her with one of her first songs, I just want to run away. They moved to Madrid at the same time and Tuiste began to share a flat with Mayo.

In that space the music began to flow in "a very organic process", during which each song asks for "a different approach". He defines the initial stage, while he was composing with ODDLIQUOR for his 4x4 album, as "a beating", with long study days until the morning during which he learned "a lot". There is no specific guide: the songs of the quartet can start with a production detail, "some casual chords" or a playful "'chopeo' of voices".

After interesting singles like De Una Manera or Subtancia, most of her audience discovered her with De la luz (Sonido Muchacho), an EP published at the beginning of the year. The repercussion has been good, although it has not come to "stick" (have massive success). She admits having read that she is "undervalued" or does not have "the numbers she deserves", but she appreciates that they discover her "little by little" and that whoever does "stays, witnessing the process". She is "proud not to be a viral artist" because "there are singers with ten million monthly listeners who no one in the industry truly respects."

Without sounding arrogant, she naturally accepts being called "the new Rosalia." The direction taken seems correct after editing his epé in limited edition vinylalready integrated into the Sonido Muchacho label along with projects established in the panorama such as those of Rojuu, Carolina Durante, senra either Natalia Lacunza. The "so organic" way these last two have of moving artistically, in fact, was what convinced her to take the leap.

It was "an illusion" to hold this first physical format in his hands, an album that already "hangs in the living room, as if it were a painting". He refuses to reveal an approximate release date for a first album because, although he has been "working for more than a year" and has left "hints of his concept in some songs", he still needs "a good trap to finish it". In addition, her goal is for it to be "an album that remains in time" and of which she can "feel proud when she is older."

That doesn't mean I've stopped posting. Songs like En el cielo or the most recent The eyelash that blew have a double objective. The first is eminently practical: "Let no one forget" its existence. Although he warns that "none of these singles", referring both to these two that appeared after the ep as well as those that remain to come until the existence of an lp, will be included in it.

The second, from an artistic perspective, is to mark the evolution of his proposal. He understands that they are considered the most complex to date, even that "there may be a small jump" with respect to that De la luz that he dedicated, with songs as evocative as trafalgar sunrise either marisucia · nightrecognizable names for surf fans in the province, to the place where he grew up, Caños de Meca.

"Every time I write better and we all work better, as a team," he says before explaining that The tab that blew has come out "very quickly compared, for example, with Another place", on which he was working for months. She now composes with "more references", something that makes it easier for her to feel "comfortable" and "find a message". In addition, these last two topics "have a more direct message" and in them it is allowed "to talk about more things, and in addition to more specific things".

But what does Judeline sound like? The woman from Cádiz does not feel that she is doing "something urban per se", although she feels comfortable "within that movement". She is amused when Spotify adds her to their well-known Radar Indie playlist: "although, you see (laughs) it's true that I've always been interested in rock and when I was 13 I had a punk group." She admits that there is something generational in running away from labels, firm in her intention to "go flowing as you please".

In his music there are hints of flamenco, as in Otro lugar or Tonada de la luz, although in the latter the influence comes from Venezuelan tunes that his father taught him. Also cadences of contemporary R&B, pop breath and dark atmospheres, which are even infected with drill rhythms like in Nueva en la ciudad. He lives it naturally because he grew up "listening to very varied music", but it seems to him to be a reflection of an "over-informed and over-connected" generation, whose constant mixture of cultures "will be noted in any artistic expression".

She is not surprised when they compare her with artists such as María José Llergó, who won the Goya award for best song for The sea awaits you, or albanyalthough he identifies more, "because of his ambition and creative visions", with Oklou, Rosalia either Dellafuente. And he naturally experiments with vocal modification software because she "likes the sound of it" and "gets her into the vibe" of his music. "I know how to sing and tune, and live I only use reverb", she argues, but uses tools "in a creative way" such as the autotune or the melodyne. At a time "in which even Pablo Alborán brings up songs to 'stick' on TikTok" it would be "stupid and anti-evolutionary to continue doing the same as before", ditch.

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