Sidonie: “We have to assume the host that reggaeton and trap have given us”

Marc Ros (c), Axel Pi (d) and Jesús Senra, members of Sidonie.

Marc Ros (c), Axel Pi (d) and Jesús Senra, members of Sidonie.

The end of summer in Ampurdán colors with the beauty and nostalgia of its light the latest studio album by Sidonie, “The return of ABBA”, extensive but agile work, born from the pages of a novel that vindicates the role of music and in which they give entrance to unsuspected Latin sounds for these rockers.

“You have to assume the host that reggaeton and trap have given us“, justify Marc ros in this sense, in an interview with the Efe Agency together with his already veteran accomplices, Axel Pi and Jesús Senra, for the publication of the first album with unpublished material since “The worst group in the world” (2016) and the one that takes over from the compilation for 20 years of career, “The most wonderful” (2018).

They should have taken a break then, but the vocalist and main composer of the Catalan trio got involved in the writing his first novel, also titled “The Return of Abba”, which took place in the same setting as his childhood summers on the Costa Brava, with a protagonist for whom music became an element of survival.

This is how Ros also began to imagine how the songs that his main character could compose and listen to would sound like, and began in parallel the composition of this 23 song album (“but it lasts 68 minutes, which is what most albums have since CD times”) and that it was the result of “an inspirational gush and an unhealthy shot of adrenaline”.

“Some Sunday I got dizzy, on the verge of fainting and telling myself that it couldn’t be good for my health, even if it was good for making songs,” the musician now recalls, for a long time he slept just enough, working Monday through Friday on the novel and weekends on the album.

The gimmicky appeal of the title (the main character is called Abba) is not indicative of the content, as there is no more Swedish pop here than industrial techno, and rather refers to the spirit that surrounds both works.

“ABBA is actually present throughout Sidonie’s career; his ‘Dancing Queen’ is an atomic theme which condenses in 3’52 “all the emotions of the human being and as a composer one aspires to approach the squalid shadow of that song, which is what the protagonist of the novel aspires to”, explains Ros.

Regarding references, they add, this work would be closer to “Tommy” from The Who, “which is almost close to a rock musical or opera”, or “The Lamb Lies Down On Broadway” Genesis, and takes the qualifier of “concept album” with tweezers, “which sounds like a progressive album from the 70”, when it is actually a very diverse album.

Produced once again by Santos and Fluren, it includes the light and optimism of “Me llamo Abba”, the first single along with the actress and singer Kimberly tell, the personal claim of “My life is the music” beside Delaporte, in addition to the theme in Catalan “Portlligat”, in which Ros’s voice appears lower than usual, or the aforementioned Latin sounds of “My war”.

“We do not know if this is a way of the future, because with Sidonie you never know. Of course we have felt very comfortable and they have arrived in a natural way, “says Senra, the first to be seduced by some listeners of Peruvian and Colombian music from the 60s after which a work trip to Medellín arrived that” soaked them ” altogether.

The Latin essence is also in “Nirvana internacional” or “Ragatón”, thanks to recovering the sound of the sitar that had been parked from his music since 2000 and to “cheekiness of mixing reggaeton with Indian music, as if Maluma and Ravi Shankar made music together. ”

The last song to make it to the album was his version of the “Thanks to life” by Violeta Parra (in the line of “feminist vindication” that Edith Piaf made of her). As a curiosity, it had been prophesied on an ayahuasca trip by the Chilean painter living in Barcelona, ​​Matías Krahn, who made the painting that serves as the cover of the album.


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