August 8, 2020

«Part of the critics does not want flamenco to leave the ghetto»

Converted into the most important group by Spanish indie, Los Planetas dare already with formats that they did not even imagine in the 90s. To the celebration of the 20 years of the iconic "A week in the engine of a bus" that this 2018 have surrendered tribute with a symphonic version, the surprising staging in flamenco tablao format that presents them in the privacy of Casa Patas, in the Momentos Alhambra cycle, alone with their cantes is added.

-How have you prepared the repertoire for this context?

-It is based on the flamenco songs that exist in the last two albums. We are seeing the instrumentation, but Florent will be with the electric guitar, and maybe there will be a cajón, and I will sing.

-Why not the acoustics?

-The electric offers many possibilities of sound with pedals and we believe that it can give a different sound.

– And the percussion or palms?

-We are finishing, we do not know yet.

-But the bolus is next week.

– (Laughter) Yes, although we are still preparing it.

-Very risk.

-It's not a complicated concert, it's for a few people, an experiment … I do not know, it's a test to see how it works. And as the Alhambra beer subsidizes it … we are going round and round to see it.

-It's not like playing with an orchestra that has other preparation.

-Clear. Flamenco is a much more spontaneous thing and we try to get closer to that.

-I think Niño de Elche is going.

-It will be our guitarist. It may sing, but we have everything open.

– And to do it in a tablao, with the connotation that it has of the flamenco orthodoxy, it supposes some type to them of reflection?

-Man, we take it as our way of paying homage to a mythical space in which we have been many times as an audience and we have enjoyed it. Acting there is important.

– And how is the public of Casa Patas, open or strict?

-It is open, passionate and knowledgeable, as in general is the public of flamenco. They know music and they know how to enjoy it.

-I was telling you because Niño de Elche had a problem because of the context. People got up and got very angry at the Seville Flamenco Biennial.

-Well, he is a fantastic artist who plays at the limit of provocation and who tries to generate reactions from the public and he gets it. In the Biennial he achieved it in a spectacular way. The reaction of the most conservative and traditional criticism was very strong, they entered the rag. And that denotes that there is a certain part of the flamenco criticism that is a little outdated and does not accept that flamenco comes out of the specialized ghetto, of purism, and that it remains popular and everyone can enjoy and interpret as they wish.

-The Planets have done it.

-We have spent many years trying to communicate both languages, rock and flamenco, and get the things they have in common, which are many. And I think we have done it with good results. It is the path that Morente started with freedom of flamenco. He got involved with young artists who had a technique that was little developed because of their youth or because they wanted it so they could sing if they wanted to and connect with their audience.

-For good or bad, flamenco generates interest and debate, as has happened with Rosalia. He is very alive.

-Because it is a very powerful and very strong culture. And that has to do with how it gets up again and again and generates artists of that caliber, like that girl you mention or many others. It is fascinating. And that is due to the culture of being rooted in people. Always find a way out of the quagmire or the maze of new times.

– Rosalía has seduced you?

-Yes Yes. I love. He has done an exceptional job, go. Very surprising at the level of production, interpretation, flamenco knowledge and depth. And also of exposure. He has achieved something that was not seen in flamenco in many years.

– They celebrated the birthday of «A week in the engine of a bus». What moved you to write the album?

-The desire to be involved in music. The album talks about how an artist comes to consider that this work is what he has to do. It is narrated from a love break that leads to a somewhat crazy experience and derives in an illumination or an odyssey to art. That's what the album is about. But there are things that you take from many places to put together the puzzle of what you want to say. And in those sketches there are things of other people or works.

-An inner journey of the creator towards his work.

-Yes, it is the experience of what you know how to do, what you want to do, what is worthwhile.

-They say it was the album that professionalized the indie.

-It is a central work in our career and something also in the development of the music infrastructure. It was in parallel in a way to understand it more culturally than commercially. The album eventually became a piece of that move.

– Do you feel more comfortable now acting live?

-Yes, you're changing. You train and try to do better. It is a constant learning.

-I say it because of the legend of reluctance that is attributed to them.

-I do not share it. We have always come out with the utmost respect for music. Trying to give the best I can and trying it to the fullest, because it is the center of my life. But sometimes people confuse critical attitudes with reluctance. If what you want is a different, more natural and less theatrical show, some take it as an attack on their interests. I do not need to repeat the topics.

-What do you think about the controversy over letters and machismo?

-Each one who says what he wants and who likes to listen and who does not, who does not. Man, it would be good if we try not to disturb others. But a song is an artistic work that is completely fiction. A small part of reality that is in a painting. The public must judge it, not a court. Let each one be free. There are millions of musicians to choose from.

– What flavor of mouth left you his candidacy failed in the SGAE?

-We keep trying to save the Society of Authors, which is centenary and has served for a long time the interests of all creators and cultural workers. And we fight so that they do not take ownership of specific publishers. If it can not be achieved, it will be necessary to set up another type of entity that manages with clarity, cleanliness and justice.


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