Leonor Watling and Alejandro Pelayo, Marlango, have climbed the stage of the Palacio de la Prensa in Madrid together with the 1920s, 30s and 50s. Their music evokes another era, one in black and white, although they are responsible for filling of color the images that you have created in Technicolor, his latest work. Subscribers of EL PAÍS, within the EL PAÍS + program, they have met in an exclusive meeting presented by the journalist of Cadena Ser Laura Piñero the details of the album, as well as its live sound.
"We are number 3," Watling and Pelayo repeated. His record had just achieved this position in the list of best sellers. After the effort of both to separate the career of actress of Watling of the project Marlango, the group was proposed -paradoja or foolishness- to create a disc that was a soundtrack for an invented film. Then, they said, the thing was changing and they ended up having different stories on each subject, although all with a clear cinematic evocation. If they had to choose a director for their tape, they would stay with Paul Thomas Anderson or Carlos Vermut. Although as they showed, the public receives the music in a personal way, no matter who directs it, and so they expect it to happen: "You hope that the music stops being yours and becomes part of the listener".
Marlango He has been rolling for 15 years and 15 years out of the way due to his interest in "the weird". They met at the bar where Watling worked as a waitress. She remembered Pelayo with a velvet jacket and some black and white shoes, "like someone would wear in London, not Madrid", so she caught his attention and thought: "I want to be in his band". He refused to remember that meeting, but he did remember the first time they played together, when the pianist from the group of the then waitress broke a shoulder. They made versions of jazz classics, but Pelayo told them that for him it was just as difficult to version than create. They gathered their knowledge to Watling's booklets full of letters and composed something new. That's how the relationship was born.
Pelayo, strict with the art of playing the piano, found in the singer "a part that drives him crazy and another that generates a musical tension" that attracts him. He enumerated that Watling often goes off rhythm, that he forgets to be the pike that supports the weight of the song because "he is having a great time", in a way that he can not understand, but thanks to that, "it takes you to a site that you would not reach with an academic person ", which causes him to get emotional when playing a song, even if he repeated it 2,000 times.
"You're welcome," she said jokingly.
In their taste for the unusual, they have lived many anecdotes, some of which they shared with subscribers. As the trips to Japan to act and record a video, long before playing in cities like Salamanca or the occasion when they shot a video clip with Bunbury, in Los Angeles, with porn actors who pretended to accumulate hours of filming in ordinary cinema.
They recognized that part of the wheel in which they have lived, with concerts that have burst enclosures and others that have not scraped barely entered, is due to their desire to search for the uncommon. "We have not made it easy," said humble Pelayo, noting that they have even changed their language in their proposals, which has confused the market. However, they were satisfied with their position as "musical middle class", grateful to the promoters who continue to trust them and willing to continue experimenting over time.