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  Mihai Mărgineanu speaks:  


"Everything starts somewhere in the past" Bookmark and Share

September 2013

Whilst in Romania we came across the artist Mihai Mărgineanu whose 2012 CD ‘Zaritza’ was still on the topchart shelves of the media stores. An interesting artist that started fairly late. His music is inspired by urban folklore, hiphop and alternative pop. According to Romanian wiki’s his lyrics are often explicit. His first songs were recorded in 2005 , was initially intended for a limited group of friends. Later, the songs were spread on the internet, and the author has gained popularity. By now he is a household name in Romania and considered somewhere between avant garde and mainstream. His songs about gypsies, vagabonds and rural life pleasing young and old. Because the album was released in 2012 we could not give it a review but what better then let Mihai introduce himself in pieces of interviews we found on the web.

What makes you most proud about Romania after 20 years after the revolution? Why? 
22 years ago I was proud that people had the guts and the power to get rid of the concept of communism. For that, it is true we have not escaped it entirely, Currently I wish I’d know what t I could do to pull the brakes on sexual impotence Roman politics and that part of the political class that wants to return again to mother Russia. But the important part is that my country's population was educated and raised herself and has kept the identity of free-thinking people.

Which is the event that you consider most important to the history of Romania? 
December 24, 1918 - signing decree proclaimed the union of Transylvania with Romania, by His Majesty King Ferdinand

You wrote a song called "Melci, Scoici, Raci, Craci (Snails, clams, crayfish cracked). What’s it about?
Everything starts somewhere in the past, I still return to that communist time, you know I keep thinking about it and trying to convince these kids who seem ignorent. I've been hearing them on television, saying that Ceausescu was a very good man and we do not recognize that life was better before.'s. I’ll tell you it is not true, it was a mess, he was a shoemaker who became the president of the state, which was a trick, the hottest profession, a trick, hence my lyrics.

What about the theme song of your latest album ‘Zaritza’?
The theme of the album's title song is very simple: although no good to fight against it is better to fight for something, it is against people who marry girls selling them, and we all know that. Part of Gypsies living in Romania sell their daughters, in tradition, and they are married at an early age, and that can maim the soul of a child. And then, maybe , some of these girls and they will listen to my song little light mind. That has nothing to do with the music they sing. I am a big fan of gypsy music and play that one.

Most of your songs are different compared to what you hear now on the radio and TV.  Do you have a target audience?
Frankly it seems to me that when addressing a specific audience, you can be framed in an artistic field. It’s called a business, addressing a target, like a product, you are perishable. I don’t want that, I work for from the human soul. I hope I succeed. I don’t know if I'm not on the right track, but at least I made my own choice of the road to follow.

There are many people who listen to your music but you started off fairly late in life. Tell us how you have chosen to do this.
I had no courage, I had no intention. It simply happened. I sing for a long time, in my bathroom, and my friends, but most in the bathroom. At one point I was asked by a friend (Mircea Iordache) to compile a disc for me and our friends we have among ourselves, he did the same. He ripped it en put it on the web. From there it got picked up. Dan Popi (of Cat music) heard the  song "Gore Gore din Chitila " on the radio, and called to ask who's the one who sings the song. The DJ Nici Huidu did everything he could and learned that I sang that song, I got on live radio and Popi took the courage to launch it on the market.

Many songs of you get downloaded on the net, it is inevitable. Is that bad or good?
A  good name among your fans makes a river. My songs get known, get everywhere by a simple click. And then the odd thing happened, people bought 10 albums at a time, to give them as gifts. I see my music now as a gift, like when you smile at the world. You can buy or download whatever you like or hear on the internet. I have all Albums of AC/DC on my PC hahahaha.

About online using social networks?
I ‘m on Facebook, and am addicted, Once at home I open Facebook, I have about only 800-odd Facebook friends Horia Brenciu has 5000 :)).

Lately more and more artists pick with Gypsy influenced material mixing it with hiphop. Like BUG Mafia, followed Parazitii, Puya. What can you say about that?
"Yes? Look I did not know about it. Knew only by Parazitii. Means that GSP is a good marketing strategy, and you now telling me about artists who have chosen this, you probably do not release anyone. Now I am , and I'm glad to be part of this elite, Parazitii lyrics will probably be studied in Romanian school in about a 100 years.  

Above is the English version of an interview that was mostly published on Urban.ro in March. We did our best to translate Romanian in English but forgive any small mistakes.

  Marc Gili (Dorian) speaks:  


"The anger at the world around us is the engine of our songs" Bookmark and Share

June 2013

With a sound that reflects the tradition of Spanish pop and electronics Dorian has become a mainstay of independent music in Spain. One of those bands that ensure full in any room for a live show, and gives luster to local festivals that program them on their poster. Recently they presented their fourth album 'La velocidad del vacío' with the help of renowned producer Phil Vinall, which we gave an enthusiastic four stars. But what is the vacuum about. And why record in Mexico? Pablo Martínez Pita caught bandleader and singer Marc Gili and presented him with these burning questions for La banda elastica dot com: "People created a vacuum around themselves harnassing themselves from all evil in the world. We let that anger of the outside world be the engine of our songs".

What is special about the new album with respect to the previous three?
As we were finishing the tour of the previous album, " La ciudad subterránea", we realized that the band was taking a more organic way in composition and live, it was also much more solid and robust. We wanted to expand that to this album. Almost everything is recorded in analog. We worked with new wave , the indie and electronic , we have added other colors, for example, some folk or psychedelia . We wanted to open a new cycle in the history of the group, expand the palette of sounds, and based on that premise, we started writing the songs. We wanted to be influenced by tons of music we listen to, and not get stuck on the idea that people are going to take or fail to take what is Dorian . In this regard, we are pleased with the outcome of this album, because we have opened a door.

What that sense, what has been the work of producer Phil Vinall?
Phil is a professional producer who grew up in the golden age of Brit-pop , and, therefore, has a very high domain in the analog world, and we wanted this treatment even in the electronic arrangements. Phil and I met in Mexico City three years ago. One day he said, "You know how we're going to see of it works?, Recording an album." On this album we wanted a producer who push us to do things otherwise. We even went to a scrap yard ( junk yard ) looking for metal parts for percussion. In " El temblor" you can hear Phil banging trash bucket over the drums.
All these amazing experiences taught us that sometimes you have to let yourself go and trust your instinct and chance. Recording to digital, you can always tweak everything, and so the discs sound too perfect, too aseptic. For ‘La velocidad del vacío’ we wanted to have a speck of imperfection, that point that had the discs 60 and 70, as thing creaks.

The new album is praised for the level of the lyrics. What influences do you have to compose?
For example, I do not like the world as it is formed. I do not like rules, how it is organized like this and like that, and that is a major source of inspiration for the songs. There are a component of revenge on all of them.

And melancholy ...?
Too. The characters that populate these songs are often real people I've come across out there, or are in our orbit, as in the case of " Soda Stereo ", which were two Argentine boys we met. People you see the desire to build a world within that world. Since I will not change the world, yes of course it is in my hands, if I try, to change my own world. This rage you sometimes produce about the injustice that surrounds us all, now more than ever, has much to do with these characters, and is the engine that drives these stories.

Even the title gives an idea of some abyss?
'La velocidad del vacío’; I came on the idea when I saw a documentary on astronomy, which explained that the universe is expanding at great speed, and likewise thought the gap expands rapidly in contemporary society. There has been such trivialization of politics, such encirclement of culture, so much trash TV ... The message you get all day from everywhere, it's so sad that you create a vacuum around you, and I think the characters in these songs struggle against the void.

By the way, what about Dorian in Mexico, why are you so successful there?
It is a country that we toured the past four years. We went with two great ambassadors, who are Café Tacvuba and Zoé, great bands. But after that introduction, what we we did was a lot of travelling, in a small van and not a lot of room, and little by little we have consolidated an important audience, and something that fills us with satisfaction.
We have always gone to Mexico with a willingness to work, not to walk or teach them what they already know. Somehow, Mexico is a country that, if you're willing to learn, and to understand their culture and love, they love you back 50,000 times. It's almost like our second home.

Above is the English version of an interview that was published on La Banda Elastica in March. We did our best to translate Spanish in English but forgive any small mistakes. A review of La velocidad del vacio can be found in the review section and more info on Dorian on their profile in the Encyclopedia.

  Pantelis Dimitriadis (Κόρε. Ύδρο) speaks:  


"The "denial of cowardice" is more relevant than ever." Bookmark and Share

June 2013

Greek band Kyro Ydro is not the kind of alternative rockband that gives the listener an easy accesible album. Their latest album 'Simple exercises for existentialism' is a complex and hard to grasp album. And for foreign ears we can only base our listening experience on the music. Which goes from Greek folk, to progrock to jazz. Maybe the lyrics give a better grasp and meaning. We hoped to get some more clearification about the songs and the philosophical theme of the album from an interview Μαριάννα Βασιλείου did with songwriter Pantelis Dimitriadis for MIC.gr. In songsnippets she tried to get to the bottom of the songs. But do we get any wiser from it? Doubtfull but it's a nice insight into the mind of the artist who gives a sometimes philosophical approach to the current Greek crisis and the political ignorance and blindness: "Only the blind recognizes the blind and have some hope to find the light if he wants to find it. As he refuses to blindness, because he personally suffered from it, then there is no need for treatment, since there is no disease"

1. "When they come Masons": "in the interior of knowledge where smoldering ridiculous and mystery" .Finally, what is the definition of knowledge? Ridiculous and mystery concepts are complementary or in conflict?
Within the context of this song is definitely complementary. Overall, however, I think the mystery involves by definition a ridiculousness in the sense that the presence of the deleted logical. If we accept, however, that the Word, as primordial sense, is something that surpasses us, then whatever ridiculousness limited to strictly human context, where knowledge is finite.

2. "In the evenings the crisis": "I will rejoice in the orchards ... I will not cry, I will not fear ... you deceived monks" .What these songs mean to you? And why chose for this piece?

In this song I use a word "relics" of modern Greek political and cultural heritage, in an attempt to structure through this walkthrough a single point within the contemporary historical context. The song choice was absolutely spontaneous and instinctive. In an ex post approach what you mean or do not mean me personally, I found that they carry messages from Makriyannis and the Constitution of September 3, the exploitation and the ban after the degeneration of "Sosialistikoy Movement" until the "prophecy" of "solitary on-deceiving" and "denial of cowardice," which, given the socio-political climate, it is more relevant than ever.

3. "I never only finished": "I felt terror, stuffed to eat with / but behind all-not hide-a pleasure" .Why we have this tendency to overemphasize the difficulties, and the European crisis we are experiencing in. Was the creative process influenced by the current climate?
Greatly. I had about two years to write. However I do not see that here overemphasize some difficulty, simply describes my psychological reaction to a return to the old "national currency" and this in the context of a (real) dream with features so haunting and sensual. Moreover, the final position of the verse would say that is optimistic.

4. "without life": "how many times" this too shall pass ";" .Is love an endless lonely path to something that does not exist? Or just a matter of time and patience?
Love is a situation that works for me absolutely self-referential. And I think that would avoid many misunderstandings, quarrels, crimes,

5. "Mourning the end of summer (or ;) The last hours or the remnants of a relationship": "History of Modern Greek Literature" . Since you insist on Greek reason, whom Greek writers do you love? They played a role in "Simple exercises in existentialism"?
One of my favorite books is "Secret Life" by Terzaki. I think since I read it, I left a lot of the subconscious to not affect my personal production. On the other, I saw myself there, so it's a little difficult to discern the extent of the influence of something that I already do. From the Greek literature I love many things, from poetry Solomos, Cavafy Karyotakis, Elytis, the Christianopoulos Elias Lagios. I will include the poets and Lefteris Papadopoulos, Manos Eleftheriou the Savvopoulos the Rasouli. From prose my favorite is the Viziinos. I would mention two books, "The consequences of the old history" of the last and "The Sun March" by Corfiot writer Nasos Martin, who have left very intense their position better: the atmosphere, of me.

6. "Satan neighborhood": "I had nothing that was not God, but he was a man" . We are all little gods or we can go some way to deification; What separates God from man?
In this song I am referring mainly to the external features in the form of a man that makes him "temptation." I would say that is a hymn to the beauty, the charm general. Of course there are standards, aesthetic and otherwise, which may under certain conditions make us "little gods." As for what separates God from man, it failed to answer a Sophocles, at a time much closer to the divine than today.

7. "Reconciliation": "you're not bad and I know, just a belief in blinded and / to such a level does not mean debate" . The blind faith (in God, in politics, in any one ideology) how they can find their light though, if not in the discussion?
Only the blind recognizes the blind and have some hope to find the light if he wants to find it. As he refuses to blindness, because he personally suffered from it, then there is no need for treatment, since there is no disease.

8. "Song with reverse message": "forever to split our hands forever to forget your name" .It reminded me of the "My only friend" of Magnetic Fields-"do not believe in happy endings." Since you have transferred to the Greek "All my little words", I feel that Stephin Merritt is one of your great love. What music you loved much lately?
The Stephin Merritt was my favorite songwriter in a given period, at the beginning of the previous decade. Something I can say very strongly implicated in emotional lately was the album of Bill Fay, "Life Is People", while deepening emotions met for the first time in the music of Manos Loizos. Also, each such period (Easter) confirm that " Ερωτική Πρόβα" by Dimitris Lagiou is my favorite Greek album of all time.

Above is the English version of an interview that was published on MIC.gr in May. We did our best to translate Greek in English but forgive any small mistakes. A review of Απλές Ασκήσεις Στον Υπαρξισμό can be found in the review section

  Jean-Louis Murat speaks:  


"If I do this job just to be popular I would see it as a failure" Bookmark and Share

May 2013

Jean-Louis Murat ‘s  new album 'Tobbogan' is less a rock album than the previous one, in which the troubadour sings with lyricism about  his feelings.  A recent interview with Nicolas Dambre of RFI France starts of very polite with Murat responding to questions about his songwriter ship. Gradually it becomes interesting when the singer suddenly starts to reminisce about what makes a good song. His complaint is that too much singers have nothing to say. But he also blames himself. By writing in a poetic mysterious manor he groups a certain segment of French male singers in the league of ‘inaudible’ vocalist. Singers who tend to be a bit somber and are searching for answers, but are unable to find them. He finds himself just incapable of making pure oblivious pop.

You write songs on a daily basis?
Yes, always, it's my job. This is not an effort, it's natural. It is a form of expression as another that I like to practice daily. I can write anywhere about anything: a train, on a piece of paper tablecloth ... I let myself do it by what is happening around me , it's not really me who speaks.

How then do you choose the songs you record?
I keep the songs that best for me, I feel they choose me, I do not know if they are effective or not. I never overall plan, the album takes shape little by little, I do not premeditate things. The only thing I'm saying is, for example: " Oh, I record a good album in the fall " and I go to work thinking about the future.

This new album is less rock, more acoustic, why?
I opted to use only one 6-string guitar nylon. There is no bass, no drums, no electric guitar. I tried to keep away of everything that makes rock and roll because I was tired of it, the musicians that pisses me off a bit. It's good to be the boss alone. I recorded this album playing all the instruments.

We hear animals, wind ...
This is the case in almost all my records. I find it very hard to do without. I often work in the countryside, with the windows open, I hear the cows or dogs, nature, and so I tend to put the sounds that surround me in my records. It seems natural to me: if I listen to a song to Paris without the sounds of nature, there is something missing.

You hold two diaries. What do you use to write?
These are my compasses. I like to report on what happened to me and what I think. It's almost a daily therapy to try to answer the question: " what am I doing here? ". I write probably realize that I am there.

And literature inspires you?
Literature in French. I put a little Proust above the other, for his poetic side and humor. I like the moralists, like Montaigne or Camus. I also like the polemicists like Bloy or Bernanos, who have some way of dealing with language. And Michel Houellebecq, a moralist of our time.

Some of your song structures are currently in vogue ( Dominique A , Benjamin Biolay ...). You could be a godfather like Bashung or Manset?
I already difficult to judge what I do myself, so it would be difficult to establish kinship. We sing in French, it's a bit choppy, we understand nothing ... they often told me that. That would be the mark of a certain French song, which would be inaudible. As if the French-language singers represented the country well, inaudible and incomprehensible. We watch the politicians and do not understand anything, just like Manset or Bashung, I've never understood anything. Today, everyone speaks and says nothing, in a country which is left with almost inaudible singers. So I'd like not to belong to this movement of French song. Girls who sing in French, they say nothing about what it means to be a girl in 2013, there is still no song about abortion! The guys are in a kind of lament inaudible. They are singers but also speechless. When I say this, some say that I am one, but I cannot imagine myself as a singer without a voice. singer

If I do this job just to be popular I would see it as a failure. I'm a little quirky, not too much of my time, that people want to hear Lady Gaga. The best in their jobs are probably Mylène Farmer , Nicola Sirkis (group Indochine , Ed ) or Jean-Jacques Goldman , whose behavior is unambiguously. They are much more pop - in the popular sense – then someone like me.

Above is the English version of an interview that was published on RFI Musique in May. We did our best to translate French in English but forgive any small mistakes. For more info on Murat go to his entry in the encyclopedia. A review of Tobbogan can be found in the review section

  Fangoria speaks:  


"We were much influenced by the space-age as young people" Bookmark and Share

March 2013

Cyan, magenta, black and yellow is the proposed color palette for the new album by Fangoria. The brand new 'Four-Color' EP selection is the eleventh studio album by Fangoria, consisting of four discs, each color representing the four pillars stylistic group: blue, pop, magenta, rock & roll, yellow, electronic , and black, gothic. Guille Milkyway of La Casa Azul; Sigue Sigue Sputnik; Florent and Banin, of Los Planetas; and Jon Klein (Siouxsie & The Banshees) are their partners in crime. Rafa López spoke to them for the Valencia newspaper Levante

Did you have to travel to four different countries to record the album?
Alaska: No, in the end the choice was only four cities. There were two Spanish producers, Guille and Florent and Banin, and two who were in London.
Nacho Canut: It has been two cities and two districts of London where we recorded.

Guille Milkyway? Has was also responsible for your sound during "Dinarama"?
A: It's a more pop approach similar to the one that we had in Dinarama.  
NC: I think it's the sound of La Casa Azul rather then Dinarama [Alaska nods]. They have their personality very different from Dinarama. Among many other things, I can remember the Beach Boys, but also Dinarama.

Is the production and sound so different between the discs that could differentiate when listening?
NC: Totally. "Dramas Y comedias", the first single would not fit into any of the other three sets.
A: No one would have done as it as Guille. And if you take one of the songs that Jon Klein has produced, it is impossible that Los Planetas had they done so. Not that they differ much as exercises in style, because after all are Fangoria songs and it shows that they are ours, but if you pick between them, is perfectly deductible which disk they belong to, and they could not be together.

"Dramas Y comedias" is the song that stands out as a future classic Fangoria. An instant hit.
NC: Yes, yes. It's like when we wrote A quién le importa" or "Ni tú ni nadie They are songs that you realize that you're going to keep playing all your life. It has all the earmarks of that in ten years we will be playing "A quién le importa", "No sé qué me das", "Retorciendo palabras" and... "Dramas y comedias".

Along with "Dramas and comedies", the song "Piensa en positivo" talks also of excessive pessimism and negativity: accumulate too much defeatism after over five years of crisis?
NC: It's just those two songs, the rest are more negative [laughs]. It is the people complaining, it seems the world is against them, they are never to blame for what happens to them: it is always been bad luck, someone has done this to them ...
Like the character of Antonia San Juan in "La que se avecina", he always blames a "black hand" ...
A: Exactly. People of every country tend to have an attitude towards life, and here we tend to always blame the other, that may be true, but even if the other has guilt, we have to see how much you have to blame yourself.

On this album seems that Alaska has tended to write more about the negative issues such as death, and Nacho Canut has been more positive, unlike as usual. Have you been well?
A: Well, but think that depends on your point of view. For me to write about death is not negative. Nacho said to be super sad, and I think that's sad.
NC: For the view I have on the situation, I find that a bit, well ... [Laughter Alaska]. If she has another idea ...
A: No, death is something that is there and nothing happens, period.
NC: Man, it happens that you die!
A: That's it, so what? It's okay.

A meteor Just dropped in Russia, so maybe the end of the world comes.
NC: It was the Pope, to resign. When lightning struck he resigned in the Vatican, and now a meteorite falls in Russia.

Speaking of meteorites and space, in the song "Rendez- vous espacial" space is a metaphor, as in "Space Oddity" by David Bowie.
NC: It is the loneliness and isolation, which is the same idea present in Bowie’s "Space Oddity" and "Hello Spaceboy". We have "A single astronaut floating" and "Interior of a derelict spaceship." Space is loneliness.
A: That must be a generational thing. When we were kids, space was the future and we assumed that in this age we would now be living in a kind of satellite out of here, not knowing that a meteorite falls suddenly in Russia. We thought we would be light years ahead and that the space was going to be something else. We were much more influenced by the space-age as young people.

Another song that touches the futuristic theme is "A robot does not believe in God." The lyrics speak of the writer Ramon Gomez de la Serna who wrote in short sentences full of wit. It was a kind of precursor of Twitter..
NC: Yes, Twitter and Andy Warhol. He had those moves he pulled, Dadaism, Futurism ... All the "isms" that he pulled a bit like the "superstar" that was Warhol. The living room of his house was like Warhol's Factory. It is a very interesting character indeed.

Above is the English version of an interview that was published on Levante in March. We did our best to translate Spanish in English but forgive any small mistakes. For more info on Fagoria go to their entry in the encyclopedia. A review of Cuatricomia can be found in the review section

  Özlem Tekin speaks:  


"Every woman should have her own warrior against violence" Bookmark and Share

March 2013

With her new album ‘Kargalar’ (translated: the Crows) Özlem Tekin closes the gap of three years since her previous album. A period with heavy international touring. The album sees a return to the rockmusic she made earlier. Since the last album Tekin saw the world harden en turn into crisis. She especially is concerned about the increasing violence against women. A central theme on the album as she explains to Hakan Gence for Hürriyet news.

Fans are waiting for a new album from you for almost three years. Your muse seems to come to you in intervals?    
Songs are your own words and I’m that kind of artist who needs a certain period of time. I live and learn and feed my imagination before anything reveals to me in a song. Others, I do not have to mention who of course, possibly make an album of music every six months. In a sort of stream like “I see, I think I like you, I'm in love, I love, leaving, getting married, getting divorced” and this translates itself to their music. For me an ideal range is that of two to three years.

What does the crow from the title symbolize to you? For some crows are bad luck. Do you have any superstitious beliefs?
To me it is not an ominous being. Why should it be. It is a living creature, after all. I'm not someone who has many superstitions. The disease is already in our lives, when there is something more terrifying than death it is a bit far from reality to think about superstitions. Moreover, the crow is an intelligent animal. Even the most intelligent bird can say. Kargalar'

Let's talk about the textphrase "Today, what if I kill you? I spit at your body?" Which little bird dictated these words to you?
Actually, it's a love song. Half way through the proces of exposure. So that leaves you love, love to hate each other, and you get confused. You do not want to breathe without him, you cannot forgive yourself or disregard. I wrote the song to an imaginary event or emotion that did not occur. The words to the song live in my inner world of feelings in a metaphorical form. So what is more true to the meaning of the words when to focus on the initial birth of feelings. It’s raw emotion but probably not to be done in real life.

Your soul is as hard as the words of the song with that title (savaşçı)?
Warriors have a soul. Everyone wants to fight, and to find out what you feel you should run after. If this means that I have a hard soul, I guess so!

The clip to Kalgari was banned by the Turkish authorities?
Not because of the words that I know of, but because of the style of music it was banned. The slogan 'before the music " is rather ironic for a TV music channel. At a time when the Internet is so integrated into our lives, I do not think it is too big a loss. Moreover, this kind of music has never been busy considering embargoes. There are currently values that are not objectionable in our country, they cannot define the correct value judgments. Currently, every day when we switch on the TV there is violence, violence and social disorder. Censorship is no way to prevent that. I rather believe that society should adopt art as a means to express themselves. In whatever form.

All lyrics album are based on an imaginary story?
I tried to fit it into a responsive story but it has a strong presence. I am touched by deteriorating of the environment and world order. It is sad to see violence and useless killing of women as a common thing in our lives. Violence against women is the central theme of the album and they are in need of 'soldiers'. I invite you to become a soldier to every woman in the songs, I hope we can make a stand against the cowards.

Which sentence best describes your mood in the lyrics?
Although we do all this evil, in spite of all this environmental degradation , the world is still recovering itself. I ask the world to heal the wounds and ask it the question, "Why do you not stop? Why don’t you fight. To get rid of us". Were not born from the ashes of the world. It's just selfishness, we choose to ignore the truth.

You were always a bit masculine?

I tried to be as I am. If I ever wear high-heeled shoes wouldn’t that be cheesy? Sometimes an event ask to dress in style but that’s not for me. I'd rather be comfortable. Trying to walk in high heels is not really my strong suit.

What would you change looking back if you have an opportunity?

I never wish to age. At the very least I'd be spared exertion to look young when that time comes. So if they find the right formula for immortality that would not be bad.

Above is the English version of an interview that was published on Hürriyet in March. We did our best to translate Turkish in English but forgive any small mistakes. For more info on Özlem Tekin go to her entry in the encyclopedia.

  Severina Vučković speaks:  


"Today, I'm very happy" Bookmark and Share

March 2013

"In my twenties I was insecure, In my thirties I was cool. In my forties I became a mum and looking back. I’m currently at a crucial point in my life, I'm very happy". Saturday 23rd of March starts Severina's new regional tour around the album "Dobrodošao u klub" in Rijeka. Renowned Slovenian theater director Tomaz Pandur was signed as art director for the tour which will be a blend of pop music, fashion, musicals, cabaret and theater scene aka the kind of multimedia fairy tale in four acts in which Severina can play a leading role in. Pandur is considered a revolutionary art director who adapted the mise en scene of opera’s like La divina Comedia and Die Russische Mission in an unorthodox way. Past week the whole spectacle has been rehearsed in Ljubljana and Rijeka behind closed doors. Novilist visited the Croatian popdiva for a short interview.

To begin your new regional tour, you have chosen Rijeka to start your tour. Why?
For sentimental reasons actually, I played two phenomenal performances here,’ Karolinu Riječku’ and ‘Gospodu Glembajeve’. Everytime I've worked in Rijeka was successful and very good, and the surroundings have a very positive atmosphere for work. The City of Rijeka is very accommodating in this project for which we are very grateful. We got the perfect conditions for the operation of the Hall of youth where we are some six days before the concert to maintain a closed rehearsal.

What exactly is meant by "multimedia theatrical fairy tale in four acts"? The cooperation with art director Tomaz Pandur's caused great shock in the theater and in the entertainment circles. How did you get his consent?
When we approached him and I agreed that we would work together, to me his consent sounded very unreal because I thought that he was just joking. However, he explained that to him and to me this joint project is a big challenge because we had never really directed a stage performance for one artist. When we started to talk a little more about working together, we first put down on paper that we will perform songs and in what order. And when we define a schedule of songs within the show, somehow imposed itself that everything is in four acts. Tomaz and me were friends before this cooperation. We can talk in colors, we can talk in pictures and always fully understand without many words. So that to me it was not a big shock that he gave his consent. It would be larger shock if he didn’t! (Laughs) (for an impression of the show see the rehearsel on Youtube)

How do you prepare for the show?
In the morning I come to rehearsal space before all starts and run the bar for a half-hour to get fit. Of course in dancing shoes because it cannot run in heels (laughs). After that, the daily dance rehearsals can last up to six hours. I love working with young people because they have a fresh approach to the project. I work with a team that is beautiful and that is as assembled for this project. All flows in a light, pleasant and cheerful tone. These are people who are better, smarter, more talented, and more successful than me. That's my motto in life and choosing associates and it seems to me that the more years pass it is the best choice. With such people I want to socialize and collaborate.

Your latest singles "Brad Pitt", "Grad bez ljudi" and "Italiana" became known through YouTube with a huge number of clicks. What do you think of promotion via the Internet, especially  social networks like Facebook?
 I'm taking a lot of care in the use of internet and social networks in which I get a lot of help from my fan club. Otherwise I do not have a personal profile on Facebook.

Recently you have backed a referendum on amendments to the labor law, about female rights when they received artificial insemination, you were wearing a brooch with the number of unemployed due to that flaw. Why the social sensitivity? Is it because of labor roots of your family?
We are all from the socialist workers' families. It was a reaction to what I thought was a particularly bad law on artificial insemination with which some women were placed in the position of second-class citizens. It always bothered me the most inequitable position of women in society. The minister refused to talk about it because he thought it added nothing to the debate about the current crisis. There are a lot of abused women and women who have a difficult financial situation, there are a lot of unemployed and to discuss that does not always have to wait for better times. That's why I reacted the way I reacted.

Some say it's the singers should just sing, you should not engage in any social engagement. What do you make of these comments?

Singers, actors and directors throughout the world originate mainly from ordinary families and are particularly sensitive to social injustice. A lot of them are the problems in society. And why not say something to make people think about and reflect on some of the problems and make their own judgments.

You turned forty recently, you had a baby  a year ago and despite the fact you now have a perfect form. What's the secret? Help your advice to women who do not fail ...
Well, I'm taking care of food and drink, I exercise, but I have a different way of life than many other women. I travel a lot, I'm holding a two-hour concert, but for many years I live in a crazy pace of daily living hundred miles an hour. Women who have a quiet life and pregnancy and then again a quiet life otherwise deal with their figure. I have not paid attention to a diet and exercise just to be nice and to be alone like myself but because I need be physical fit for the job that I do, like to say that this tour was in front of me.

Birth and care for little Alexander did not slow down your work at all. The album came out and now the tour. How hard is it to coordinate all?

I align it with great planning and logistics. During the first six months after the birth of Alexander I did not dare to do anything. I was very vulnerable and it seemed to me that in this period, but not for the stage that my place just next to Alexander. Little by little I started to work more. Last summer I took only five concerts just to see if I was capable of, but then return to the scene.

Will you continue coöperating with Goran Bregovic started with the album " Zdravo Marijo "?
When we finished the album, we have not said that we will continue to cooperate immediately and start to do new songs, but I'm sure Goran already has some songs for me. He listened to my new album and said that he liked. Surely we'll work together again.

How does negative criticism and gossip particularly affects you?

Of course it affects me because I am very sensitive, but I'm a good actress and pretend that I don’t care and that it's none of their business. But it really strikes me as unfair! I just try to make people happy at concerts and make them go home happy and carefree and I do not know why someone should want to scorn me...

People are amused by the question of whether the Seve and Milan are back together. Media wrote: Severina and Milan were back together, love blooms, they want another child, preferably a girl. What do you say to all this?
If I say anything to you then it will be in the title on the cover (laughs). If you insist and promise that it will not be in the title, then I'll tell you that I am very happy about the whole situation that happened. Just as much, so let everyone interpret it how he likes it

Above is the English version of an interview that was published on Novilist in March. We did our best to translate Croatian in English but forgive any small mistakes. For more info on Severina go to her entry in the encyclopedia. A review of 'Dobrodošao u klub ' can be found in the review section.

  Katarzyna Nosowska speaks:  


"Happiness is a theme I cannot catch in a song" Bookmark and Share

February 2013

Katarzyna Nosowska, lead vocalist of Hey, who last year released the album "Do Rycerzy, do Szlachty, doo Mieszczan.",  is currently touring Poland and celebrating their 20th anniversary. Urszula Łapińska interviewed Katarzyna for Interia in what turned out to be a very open heart to heart. Nosowska tells about the pride and joy she still feels, her internal motivation to write, her love of music and the subject she is still not able to catch into a song, Happiness.

It’s 20th anniversary of the band Hey. What do you feel at this moment?

With regard to the fact that form a band for 20 years it's not something I try to devote too much attention to. My impression is that our appetite is more and more increasing over the years. Also to to be more contend with each other, and maybe someday reach the goals that we set ourselves. I do not want to stop the overthink this 20-year period, as if it makes me obliged to stop.

I did not think about stopping, but rather a reflection. Do you have a sense of fulfillment and satisfaction?

I think I'm a lot more challenging than I thought many years ago. I think the real satisfaction has not yet been reached. I say that I am in the process. All the time I dream about one day to feel a truly fulfilled person. My reflection on the life associated with the band is reduced to a short statement that I am a very happy person. I feel a sense cherished by fate and I'd be lying if I said otherwise.

This album was created over two years. Given that you are ambitious and see yourself from the perspective of development, around this album something special happened, what influenced this development?

When recording the next CD I put the same goals, so nothing special had happened, beyond the fact that each of these processes was special. It is unusual that the atmosphere is so open that the words begin to appear, and think that those stories in which I was the main character, reduced to the form of a short text. When I think of how to arrange the marriage of words that they were married, and marked by a long-term sense. Every time is amazing and I hope that is still being developed.

And you have a gut feeling?
 I'm dependent on it. For sure I would not be happy if I had to cool my job done. I think that after so many years of writing lyrics and singing I can pluck a delicate pattern on how to write something that would be decent, but do not ever satisfied. Rather, I try to avoid all kinds of patterns, and each time I build something, I do it from scratch.

Your lyrics are extremely emotional and deep. Where do you get inspiration for their creation?
I'm very curious people. It probably has to do with the fact that childhood and teenage memories as isolated. On the other hand, I was always a very curious people. At the time, the knowledge about them I drew mainly from books. The book has always been available in my life and I feel that has always led a two parallel lives - as a reader and as a person. I was present in my life, the ordinary, but very transported in those moments with a book, then really I moved to a different world.

And now?

 Now I sing and I go around the country, get to know people. I have the opportunity to listen to what they say to me, look, watch, and it's really interesting. Besides, I try to have a truly meaningful contact with them. I've learned that it pays and is the most precious thing I can do for myself. Know who I am, to hear one another and respond to their own needs. Besides, I have no shame when it comes to describing some of the things which concern men - me or other people. I assume that I am a typical representative of the human species. I am also aware that what I experience, in a sense, happens to everyone, it is like a kind of reproduction of the history of other people.

Are there any topics that you would like to write about, but so far have failed to emerge, or you tried and it did not work?
Happiness, which I feel, is the theme that I cannot catch in a song. I think we need to really wield the word somehow perfectly to write about it in a sophisticated manor. All these dark views of life, however, are easier to describe.

Your albums are appreciated both by audiences and critics, and showered with awards. Assume a situation that you release an album that flops. Are you prepared for it?
Not only am I ready, we experienced such a situation. In fact, for several years, where our albums sold poorly, and only the most loyal fans were with us. We know the situation, and if it appears, we are ready for it.

What is music to you? Is it every day all the time you companions? Or do you also sometimes find the need for distance and silence?
I need silence as any man, but the music is definitely in my life and it is one of the main roles. Strongly feel the need to choose my music and her own. I'm not a slave to sound, but I definitely like a primer for everyday life. These quiet moments I reserve for myself really. Carefully listen for myself, I recognize the desire of silence and then the guarantee it. I also listen to other artists, and I'm a fan of many musicians. I am very moved by what others are doing. In this sense, I am a representative of a social group that likes the contact with music and song.

And what is a live show for you?
This is just a mystery (laughs) . I know that our show is not a spectacle. You may not see it but we feel performing is a treat. It is magic. Of course, the magic does not always occur. So saying that you cannot plan on how the concert will be conducted. We can know what we're playing, select songs and their order, but we cannot guarantee that we will achieve this goal. The goal is a sense of something that is very fleeting.

For your latest album you invited Gaba Kulka. Tell me, I there someone with whom you dream to work with it?

Oh! It is one million people in Poland and abroad. I think that all of these meetings, which have become my participation, as there have unplanned and very spontaneous. It was a twist of fate. Such moments, when it comes to engagement strange circumstances, suddenly we come at you with those people and come to something special.

2012 came to an end, any closing thoughts?

I think this past year was a good one. It was not easy, but I think it falls well summaries. And when it comes to 2013, I have the impression that it would be special. I feel the rush, to experience the future months. I think it will be a very interesting time.

Above is the English version of an interview that was published on Interia in January. We did our best to translate Polish in English but forgive any small mistakes. For more info on Hey and Nosowska go to their entry in the encyclopedia. A review of 'Do Rycerzy, do Szlachty, doo Mieszczan' can be found in the review section.

  Etienne Daho speaks:  


"The more I do this job, the more I love it, and the older I get, the more I am amazed" Bookmark and Share

January 2013

Five years after the release of "L'Invitation" which went certified platinum album and got a Victoire de la Musique 2008, Etienne Daho is currently in the studio from London to New York to record his new album, compound with Jean Louis Pierot. Etienne Daho, including Le Monde recently celebrated pop influence in France, produced in 2012, "Places", the first album of Lou Doillon. For this new album, which will be co-produced with Richard Woodcraft, mixer and engineer the album "The Last Shadow Puppets" and Jean-Louis Pierot, producer albums including "Fantaisie Militaire" Alain Bashung and "lie Supplements "Hubert-Félix Thiéfaine, Etienne Daho is especially surrounded by Nile Rogers from Chic and Dominique A composer of a title. Recorded at RAK Studios and Abbey Road London and New York's new album Etienne Daho released in fall 2013 on the Polydor label and will be followed by a tour in France in the spring of 2014.So it is this morning, but fortunately, it's nice so it gives energy for interview Etienne Daho, anyway. So Stephane Hauser picked up the phone and called singer in London for Le Catalog.

How is recording this long awaited album going?
Recording is nearing completion and is scheduled for release September-October 2013, output will be followed by a tour but shorter than the previous one. The musical tone: a mixture of full styles; an alchemy that I not always can explain but it works beautifully. It will be very symphonic & groovy and I am very happy with this album.

Great to hear that, you have a impressive team working on the album?
 I worked with Jean Louis Pierot, ex- Valentines, who had previously worked with me on Corps et Armes and Richard Woodcraft who worked on the album Last Shadow Puppets with Miles Kane and Alex Turner .

Both producers are known for their orchestral arrangements, can we expect that on the new album?
Recording strings took place two days ago in the Abbey Road studios , my birthday and it was a wonderful gift, the orchestra was led by Sally Herbert who has worked with Radiohead. Since ‘Eden’, I like to work with an orchestra and a group because I think it creates a magnificent setting for emotions. The more I do this job, the more I love it, and the older I get, the more I am amazed. This recording was happy and gave me intense personal development. This job is both my job and my joy, I was eager to return to recording an album and I was overwhelmed by what I experienced on this occasion.

Your last project was an album with Jeanne Moreau (the 2010 ‘Le condamné à mort’) around poetry of Jean Genet. How was that?
It is difficult to tell you about Jeanne Moreau. Jeanne Moreau! The meeting and experience with her was very important to me. It was a narrow escape, but very high flight as we produced in Avignon, in the Court of the Palace of the Popes, which was very impressive This project ran freely around a beautiful text dealing with passion in love.

We now come to the musical encounters that you made and mainly the latter, with Lou Doillon .
My work as a producer must be coming from the heart, that's why I worked with a lot with friends. However, I did not know Lou before I met her at the birthday party of her mother and suddenly we were alone in the crowd. I met a young woman that was out of the ordinary and that really touched me, it is always more difficult to work with someone famous. Lou was already known and recognized for her work as an actress but her maturity took everything in its path.

Now we have a little more personal question, I've always wondered if fashion was important to you?
 (laughter) I'm sober bordering on austerity and I am often in holed sweater and jeans. But I met some lovely people, including Heidi Slimane. I love the suits in which I feel like armor. This is from the first suit I bought for my first scene with Marquis de Sade: I found it in an old-clothes for next to nothing and it was too big. This affection for costumes must date from this period. With the suit, I feel another person and it allows me to face this unique moment is the scene: a mixture of confrontation and division. In this business we must find the right balance between sharing and protection of intimate identity.

Aren’t the songs you sing also revealing your intimate identity?
I actually was very hesitant to record a song like ‘Boulevard Des Capucines’ dedicated to my father for the last compilation album. Today, this song is part of the past, but I like its strong descriptive aspect. A song like "L’Adorer" (released on ‘L’invitation’) is a song just as important to me as that one I wrote for my mother.

Thank you for your time and good luck with finishing the album.

Above is the English version of an interview that was published on La Catalog in January. We did our best to translate French in English but forgive any small mistakes. For more info on Etienne Daho go to his entry in the encyclopedia

  Francesco Bianconi (Baustelle) speaks:  


"I began to live in a more relaxed relationship with my origins" Bookmark and Share

January 2013

A recurring theme in the discography of Baustelle  is that the experience of the province as living in a 'cage'. Growing up in the Tuscan town of Montepulciano in the late seventies and eighties they wanted nothing more then escape. Not anymore: the new album ‘Fantasma’ marked the return of Francesco Bianconi, Rachel Bastreghi and Claudio Brasini to this native town of Siena."Fantasma is a very hardcore Tuscany" begins the singer and lyricist. And not just because I have seen the Medici Fortress", a quiet place away from the pressures of Milan. The perfect place. " Because "now I begin to live in a more relaxed relationship with the my origins." In short, the dear old village Montepulciano "is no longer a Ghost", indeed has become a ghost with which the accounts have been settled. "She came back to be a friend, my hometown.". Edoardo Semmola speaks to frontman and songwriter Francesco Bianconi for ‘Il blog della Sera’ in Corriere Fioretino.

You always had symphonic soul. Has this now reached its completeness ...
"The orchestra is a very strong component on this album; unlike earlier where we started from an arrangement of a more traditional pop-rock song on which added elements and colors of an orchestra,: ‘Fantasma’ is all designed purely for an arrangement with an orchestra of 60 people. "

It evokes the ghost of tales of Charles Dickens, Dario Argento, Edgar Allen Poe and the end of time. Even extinction. In all this, one thing is missing: fear. There is no "fear."
"Perhaps because there is so much fear around. We try to exorcise it, to win it. Including the fear of death, in a song we urge you not to see it as a scarecrow or a taboo. Perhaps we in the West see death more important than what he really is: if you believe in the afterlife, death is only a passage, and if you do not believe that just see it as a change in biological state. So do not fear it. Perhaps we should learn from the cultures of other parts of the world where death is considered something less traumatic. "

The return to the town of Montepulciano for recording the album meant something, a desire to reconnect with the origins, with the land? Even these are ghosts in some way ...
"I began to live a more relaxed relationship with the my origins. I'm much better than before. Oh my God, I've never been bad but there is a time when you're young, you might want to be a musician, that the country and the province you are a bit 'suffocating’. Then you relax more and begin to see it with a different eye. No more ghost but returned to be a friend. "

Is the old distinction between classical music for the elite and pop music for the masses still relevant  at all?
"We live in a time of great change, and perhaps in the past there has been too much separation between light-popular music and classical music. They are different things, but there should be a distinction between "class". Everything that goes in the direction of a mix between the two genres is good. Classical music should not be left in a glass case. Indeed, it should be made known in schools, for children, with a more pop attitude. "

While telling your moods rather strong, Fantsma shows no outspoken emotions. No anger, no pessimism or indignation. Perhaps it would be better to say a state of acquiescence ... almost ghostly.
"That depends on the way I write. But I think a little 'anger is there and maybe even a little' indignation. Perhaps the detachment that you feel is just my congenial tone, the way I sing. And maybe also has more effect with a detached tone than shouting what he thinks. "

This is the third time you write a song for Sanremo: twice you  wrote a song for Irene Grandi, and now for Chiara Galiazzo. Why not go yourself ... ?
"No, it is not feasible. Sanremo is given too much importance, such as death. Instead I think he can also do without it. Personally I do not like that kind of TV show, and so I would say that I will never join. Although this year's edition I think it will be very interesting. However, I do not write songs "for Sanremo" but if you ask me, and the click is there I won’t say no to help you out.

Above is the English version of an interview that was published on Corriere Fioretino in January. We did our best to translate Italian in English but forgive any small mistakes. For more info on Baustelle go to their entry in the encyclopedia