“19” is one of the songs that Horvilleur decided to include in this new album that has two unreleased songs, the one that gives the album its name and “Cosa loca”, and others of great recognition such as “Soy tu nena”, “Radios” or “Crazy love.” For the realization of this material, the founding member de Illya Kuryaki and the Valderramas summoned, in addition to Parravicini, other young artists such as Zoe Gottuso and Chinese Bandals, as well as your partner Evangelina Bourbon.
Journalist: The acoustic format of the album allows you to go to the heart of the song. Do you find a common thread in the songs chosen to go through your discography?
Emmanuel Horvilleur: The common thread may be the nature of those songs. What you feel is a summary of the song. Between the harmonic and the rhythmic, and the percussion. With that dogmatic thing we were giving a new color to each theme. And so it allows you to connect more. That was my idea, but it doesn’t always happen that it is received. And people connected. Even, sometimes, as music that is playing in the background. When you have an idea that is out of the ordinary and arrives, it ends up being rewarding.
P .: It’s a sunset album, but also a sunrise album. With the sun in the window. With nature as a framework for a moment of much confinement. Can you find a perfect schedule?
EH: Yes, it is a record that is not nocturnal. I saw a lot of stories on social media of people putting it on during the day. And I really liked the idea of it being a sunset album, of being outside. Of people listening to it on the road or with a co-pilot filming through the window. It reminds me, and I keep that forever, when we drove back from a New Year’s Eve party in Mar del Plata with Cerati at the wheel, his manager Nando and behind Afo Verde and me. All the way we listened to the demos of Fuerza Natural, Gustavo’s latest album. And by the window always a sunset, the cows. It was a flash. Pinch has something of that. Of nature and of going forward.
Q .: How do you relate to your own issues as time goes by?
EH: There are many who are always there, but it is good to give them other clothes. “Soy tu nena” is a canchera rock song in which I always liked to say ‘I am your nena’, which is the opposite of being the macho of rock.. But, at the same time, he has a lot of musical adrenaline. It’s a medium Lenny Kravitz song. And in this more folk version I like where the song is located.
Q .: “Radios”, at the time, put the focus on the mainstream of the promotion. How do you get along with the “modern song”?
EH: The trap appears flying over everything. And there are certain coordinates that also sneak into other styles. There is a revival of RnB or funk. And new visions of that, or even folk or pop, I like. Many tell me that my music from 2010, from the stage of Nibble, it has many ingredients that are revisited today. “Call me” doesn’t sound old. It has the color of now. Pop is fueled by soul, by RnB. It’s natural for me to be a part of today’s sound.
P .: Together with Dante Spinetta, with IKV, they also opened a door that today seems to have marked a path for certain musical styles to retrace. Do you feel that connection?
EH: The one from Illya Kuryaki it is a case that requires more analysis than mine as a soloist. It is a band that, at the same time, having opened the doors that he opened from the musical and having set his feet in the mixture of styles, with rap, funk and song, still lacks a historical repair.
Q .: In what sense?
EH: We have eaten a lot of bad vibes. We did very well, too, of course. And now there is a move that seems to have come from there and is not recognized. The kids of the trap have more to do with Daddy Yanquee than with Illya Kuryaki. The trap is more related to the mainstream than to IKV, which is still cult. It is a band that knows many people, but we are not the godfathers of the urban scene. We have the recognition, but I do not know if stylistically.
Q .: Didn’t you feel it on the return trip?
EH: It doesn’t go that way. It’s not something I’m waiting for. I mean the analysis of history. Of course, there was a more active under of rap, which also eluded its success. Kids who were heating things up so that cock fights exist. And there is a black hole in history. The kids of now are going to name you things from 2015 and it seems like there was no previous story. And there was.
Pen Pinch generás invited three artists of the current generation. What did you find and how necessary is it to connect with the artists of today?
E.H.: Music allows us to share beyond the document, what it says how old you are. I feel like a pair of these musicians that we named. They all seek to make beautiful songs and be able to make a living from this. We are in this as pairs. And I love being able to get on stage and share with them. It seems to me that it is something that nurtures. It feels natural. If it weren’t, I wouldn’t. They are not featuring set up by managers. I try to get together with like-minded people.
Emma by @agustindusserre DSC_0028.jpg
Q .: What made you play live again, with the people there. Close. How essential is that meeting for you?
EH: The other day we got on stage after a long time and it was like a luxury, in every way. In the musical, in the human, and the visual. All the time since we stopped playing, it seemed like it made sense again. The feeling was so rewarding and enjoyable that yes, for me music is essential. I live music like a medicine, like a vitamin to face the day. I’ve been doing this for 30 years and I think it’s okay. Nevertheless, I get up to play and I want to be Buena Vista Social Club and die on stage.
* Emmanuel Horvilleur performs tonight at 9pm at the Teatro Coliseo. In addition, they will play in La Plata (10/24), Córdoba (11/10), Neuquén (12/8) and Rosario (12/11).
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