Marlango has been composing a film through music for years. His scenes are songs that sound like black and white, gangster, piano bar and micro. The development of this aesthetic is the result of a conscious effort to recreate a time that Leonor Watling and Alejandro Pelayo admire. The last immersive proposal of the duet has just been published under the title of Technicolor, an album with 10 songs of artisanal patina and time travel included.
Like the cinematographic technique that gives name to the album, Marlango has saturated its registry to create an album of principles of century XX. There is no retro look or nostalgia. Nor pose. "I like to dress like that, like my grandfather, I've always liked the look, with everything that the word means, from the beginning of the century, the whole artistic movement ", exemplifies Pelayo holding his black vest on a white shirt. Watling supports it with a joke: "We want to be the most modern of the 50s".
The basis of construction of the universe of yesteryear is for Marlango the frame. "We work with the image when the musical language still does not hold", explains Pelayo about the construction of his songs. A reflection of the current generation, in consideration of Watling, who has in photography "a direct and simple way of expressing complex contents". So, on a fixed image they start their production, "like a scaffold", but sometimes the development changes the original idea and it derives in the opposite thing.
The germ of Technicolor was to create a soundtrack for an invented film; however, "the lack of a director" has resulted in 10 final trailers from which the duo believes that they could start tapes. The condensation of each of the themes is partly thanks to the work of its producer, Vicent Huma, who has given personality to each piece. The recording of the album has been almost analog, with wall pianos, cellos and the voice of Watling cleans. "Our way of understanding music and playing has always had something old," says Pelayo. So, they have "abandoned" the recess of sound.
They have invited some artists to collaborate, moved by their own "fan phenomenon" towards them. Coque Malla helps Watling take away the grief in Little by little, while David Aguilera configures A perfect moment next to the singer. "I'm very proud because this year they have nominated him for the Latin Grammys and we have him on the record before they said it," emphasizes Watling.
These collaborations are possible in part thanks to the language change they made from English to Spanish two albums ago. In their mother tongue they have found "a very beautiful tension" that did not exist with English, a conversation between the piano and the voice that can change in each direct and that was previously invariable. Pelayo recognizes that he could isolate himself from the meaning of words and play mechanically. Now they speak with their hands and mouths. "That puts us in a way of playing, in a Spanish place, that is not Latin, that is far away", defends the pianist, who points out that it is not easy to find Spanish music records. "Yes within the genres, of the boxes delimited, but outside you have to look and ask, I want to make that journey." He considers the posters of concerts and festivals homogeneous, but without acrimony. "It's not a problem, it's just like that, but there are 15% that are the ones that change, they are the ones that interest me, those of us that are outside and we try to recognize ourselves and see what other things can be done ".
What they do they will show it from next October 18, when they start their tour in Bilbao. The 23 play in Madrid and then continue with other appointments that for Pelayo are the best of the trade, the direct. Watling keeps the recording, but both agree that the worst moment comes with the days when they return to the reality of the routine.