The visual resource complements the power of the artist’s sound, which oscillates between pop, rock and even a cumbia – “AAA”-, intermingled with the electronics that suckled since boy. Even encourages a tango As “friend”, one of the most melancholic of the album. In addition, the project joined great voices such as Dillom (“Call”), Juana Rozas (“Cachetazo”) and even the writer Mariana Enriquez In “Futurist”.
On the other hand, the Marttein project not only involves Martín; From the music They contribute The Pepe (guitar), Jeremy Flagelo (keyboards and synthesizers) and Colo Cano (Production and sound live). In addition, the film was under the address of José Fogwill and Clemente Bruzzonewhile Valentín Mutti He took care of the script. In another line appears Rome wheatteacher of performance and performance of Olveira, and Juana Fronterathe Sprive. At some point in the interview, everyone was named, since Marttein understands this tribe under the concept that Brian en I called Scenius (instead of Genius), that alludes to the intelligence and creativity of a whole group of people.
This Saturday, he has one of the most important shows of his career, after what was Niceto Club’s in December. At the Good Vibra Festival, the blond who sings to failure will seek to succeed at the last time of the grid.
Journalist: The album speaks of failure and curiously succeeded. Why do you think it resonates so much in the public?
MARTTEIN: This contrast is re-intending, how speaking of failure I reached a certain level of success. There are a lot of people who feel that way, and the album has a focus on youth, in the vertigo of growing, the pressure of defining, directed, independent. That added to the context and the reality we are living can be very overwhelming. And the history of the album returns to the same place, it works like a loop. Start at the mother’s house and you think anything in the movie can happen. In fact, a lot of crazy situations pass, but always returns to the same place, more shattered and with the same truth.
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Q.: On several occasions you mentioned that the reason behind Marttein It was feeling a weight for others. Do you find a kind of cathartic solution when you make music?
M.: Now I have 23 and they spent 8 years of living playing in clubs, to live the night, when what I wanted to do was live from music. I started to see that the roads closed to me and that all I did was to work on things that I did not like, so the first frustration that pushed the album was mine. A little my way of traveling that feeling with so much wear and tear was to make fun of myself, and what was happening to me to write the letters that then went to the album. My first jobs were very cathartic, and in the latter my way of composing was more humorous and funny. There I wanted to find a more pop sound and began to have a more concise way of writing, to say the greatest amount of things in the least possible space. I think that if I had not had that eternal vomiting of words before, maybe I had something else to say. I began to value this pop thing, to put clarity in glory.
Q.: “To love yourself” is a clear example of what you say, a song that says: “Maybe it is not a good time to love.”
M.: In many moments in history there were people who postponed love for a political context, such as an exile, or when the fucking and lesbians were persecuted. How to love in such a context? It is a song that talks about the fear of love that is also very historical, but that became very general and very nailed in our youth.
Q.: I feel very rooted in the political and social context that the country is going through. Regarding the suspension of the Milo J show in the former ESMA and the criticisms of artists to the government in the Cosquín Rock, what do you see of this strong clash between culture and politics?
M.: It is terrible. I feel that Argentina has already lived censorship and persecution, it’s like going back in history. The president also fighting with an artist is a way of distracting us and generating garbage from the Internet. Putting a truck full of police in front of a place like the ex esma to go to suppress teenagers, who are going to listen to the music they like about an artist who moves them, is horrible.
Q.: On the other hand, today any artist is asked to pronounce on political issues. A case that resonated was that of Emilia, when in an interview he refused to talk about the cuts to culture by Javier Milei
M.: Many of our idols and idols in the country were a resistance group and company for people, so there is a great history in that link between culture and politics. Sometimes they ask me to pronounce me and the truth is that it bothers me, did you see? I make my music and I think that everything is already said. I also believe that we are living a time when pronouncing is like censuring, because there is a whole device that is prepared so that when you speak, they label you of something. It is all very black and white. I think it is best to be able to hug the differences and have a conversation. If it is not like the dissolution of society and that is a bit what is happening. The artistic expression of political concerns or ideologies must be valued again.
Q.: Nostalgia is very present in Martinein; Aesthetics refers to 70 ‘, the film was inspired by the new Argentine cinema of the 90’ and even use the lunfardo in several of the songs. However, the album listens fresh and current. How did nostalgia go through this process?
M.: We call it retro-fouturist, because it has something that throws for the past and another thing that throws for the future. At the same time, it is born of an influential chaos, and the idea was to try to unite everything and generate a kind of temporary strange point.
Q.: The presentation is coming at the Good vibes festival. How do you prepare the show taking into account that it is a stained glass window for artists?
M.: It will have a different concept from the previous ones and will be titled “The Bolichero of Marttein”. The show is at 1 in the morning on the alternative stage, so the schedule summoned us to put more the focus on the Rave or electronic side. Above after the Kuryaki, so it has an important weight. There will be new acting numbers, following the theatricality of the album, and we want it to be very energetic.
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Q.: You are also putting together your new project, an EP that is going to be called Spectacular. What can you tell us?
M.: First we will have Single -shaped releases and then present the global project.
Q.: And with respect to your homonymous album, which covers several artistic disciplines, are they going to try to run from that focus or insist with the concept?
M.: We did the homonymous album that is super ambitious, and it was quite miraculous that we could achieve it with the resources we had. Already in the musical we have a very visual concern and I think that now that this language of the performance will have for long in the project. The following challenges will be with acting and narrative. In fact, The next EP will have that.
Q.: Will the blond die at some point?
M.: He is crazy because he is suddenly a character who is super armed and has much more life. Perhaps in the future he will begin to coexist with other characters, in the style of David Bowie. What people who listen to my music can expect or who see the visual is that it will be very chameleonic. We are currently doing this project whose story is not very close to my reality, it is much more fantasy. I like that because the blond is a synthesis of me, and I am fun going to the other end.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
