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Knowing Russia: “Music is meaningless without magic” | Mateo Sujatovich, in full marathon of shows at the Gran Rex

When Knowing Russia announced his first recital, tickets were sold out instantly. In fact, the artist’s existence spread like wildfire after such a surprise. But the funny thing is that his debut album, titled by the same name, had appeared two months before, which made it an unparalleled event in the Buenos Aires scene. There were two answers to that: either he was the living incarnation of Roberto Carlos’s hit (because of the million friends who banked him) or his songs were too seductive. Yes OK Mateo Sujatovich, the alchemist of this project, had a past and ancestry in Argentine rock, he did not appeal to any of those resources for his incipient musical laboratory. Three years later, and with a third album just released, now he ventures to his debut in Corrientes street with four Great Rex theaters to consumethe first happened on Tuesday, Wednesday and Thursday follow, and the last will be on the 28th of this month). That only further fuels the phenomenon that revolves around him.

-Do you have any explanation for this?

-It is not known very well. It was a surprise both for me and for those of us who participated in everything that was generated and what is still being generated. Since I started, I kept composing and always pushed forward with the project. This is partly due to the work, the songs and the magic. Music is meaningless without magic.

https://www.youtube.com/watch?v=aeRaiZuNsKs

While his second album, Cabildo and Oath (2019), consolidated him as one of the Argentine pop figures of this time, Mateo was encouraged to leave his place of comfort, and on November 12 he circulated on digital platforms The direction, album in which he reconnects with his roots in rock. After all, he is the son of Leo Sujatovich, Spinetta Jade’s keyboardist, among other scrolls. “Sometimes projects give the feeling that they are well thought out. In my case, I’m not good at thinking about records, I’m better at making them. Along the way I find out what they are about. I get on what they propose to me ”, explains the ex-member of the band Detonantes. “On The direction the proposal was marked by the songs. I began to understand what they were going to do to defend them. It is very difficult to calculate a theme. There must be a lot of people who will surely know how to do it, but it is not my case. I’m trying, I’m finding, and I think this project is a worthy third album ”.

“Is that why you called it that?”

-My songs set the direction for me. I let myself be carried away by that, that they choose my path, that they tell me where to go, how I am and what I want to do. And yes, that’s why the album is called like that: because I am at the service of the songs and their decision.

-On The direction two ways of approaching the song coexist. However, when you rock it, your influences are exposed. Someone else might have done their makeup, you didn’t.

-Knowing Russia does not hide its influences. More than hiding them, it highlights them. I think I have a lot of songs that quietly may not make you remember anything, and others that can remind you of so and so. Sure, because the influences are there and I enjoy listening to them in my songs. In that sense, the album is clearly marked by two parts. A side A that is a little more calm, intimate, and that has the feelings placed elsewhere, while on the B side, rock and roll goes out. Although in general I am calm, I am also like that rock and roll that I like to compose and play. It is the biggest school I had when I started playing guitar.

-Also when doing blues?

-I gave myself that pleasure. It had a square, three-tone blues, and that’s how the record ends. When I wrote “Vos y yo” I wanted it to be like Pappo-style rock and roll. I remember the brasses that Javier Malosetti did for him for “Rock and fever”. So I thought about looking for him to do the same: guitar, bass, drums, gospel and rock and roll. I learned to play the guitar by taking music from those records. I took advantage of my past and brought it to the present.

https://www.youtube.com/watch?v=w4pzBH0A3zw

-That imaginary Side B opens with “I can’t stand it anymore”, an ode to Calamaro in his time at Los Rodríguez.

-When I composed that song, a couple of days before I had listened to an Andrés album. Or something like that. I sat down at the piano and this topic came up. And it was as if for a while I had clung to his DNA. The production was forced, there was no other way to make that song. As the subject seemed theirs, I thought we should do the same. Sung by me, written by me and with a 2020 language, that rock trait in this era is a challenge. It seemed like a good experiment.

-According to what Spotify advertises, young audiences only consume pop, urban music and tropical genres, they are not interested in rock.

-There are a lot of young audiences who are listening to rock, and who want to rock, play the guitar or sing. For me there is a gross error when it is said that there is no public for that. That there are other styles that are on the rise and that they are the covers of the Spotify palylists does not mean that there are not people wanting to listen to other music. There is a confusion there. The musical platforms are the ones that the youngest consume, you see? And that’s what the numbers reflect. That is why the new genres, which are the ones that consume that target, are the ones that are at the top of everything. There is an audience for rock and roll, full, and I trust those people.

-How do you feel your audience reacted to this semi swerve? You could have taken advantage of the formula of Cabildo and Oath.

-First they told me that the formula for my first album was what I had to do and that it would be difficult to overcome. Later, Cabildo and Oath it was the good one. Let’s see what happens with the third. The two albums I have are very good and I think this one is also very good. Also, it seems to me that I could not have repeated the formula of Cabildo and Oath because I don’t know what it is. I can’t do those songs again. And repeating the songs that one has already done is a stroke, for that I dedicate myself to something else. The grace of being a musician is taking risks and gambling it the other way. AND The direction take that course.

-You say you don’t have the formula, but artists like Coti, who is a hitmaker, gets flattery about your way of composing.

-While it is true that there is a way to face the compositions, it is impossible to repeat the ones that one has already done. I’m only going to have a Cabildo and Oath, I don’t think I can do a Las Heras and Pueyrredón. The good thing about this third album is that it is different from the previous one. That is the grace. I listen to the new album of a band and if I like it, surely the next one I will resist, although I know that later I will like it. Its a classic. When it came out A.M, of the Arctic Monkeys, nobody liked it. I said: “What did these kids do?” And today I consider it the best of his work. I still can’t believe how great it is. Everyone has to grieve to hear an artist’s next album and then start loving it.

Once Moris landed in Spain in the mid-1970s, he laid the foundations not only for a new understanding of the song in Castilian in the pop and rock of that country, but also paved the way for other Argentine singer-songwriters to continue. with that contribution. Mateo Sujatovich is considered the successor of what Ariel Rot, Alejo Stivel, Sergio Makaroff, Calamaro and more recently Coti bequeathed on that scene, after his landing in the European nation in July this year, where he carried out eight recitals. “They felt identified with that Argentine rock that they listened to as children or that their parents listened to. They heard an Argentine singer again, but younger. It was like déjà vu ”, the musician shares. “It was a first, a challenge and an incredible journey. I came back very stimulated. It is a super incredible terrain to develop, to go very often. Distance complicates us. Riding a tour there is a difficult battle, although it is something I intend to do ”.

-In “Mundo de cristal”, from your new album, a very popular Spanish singer, Leiva, collaborates. Did it happen from this series of shows?

-It’s my music and his lyrics. I already knew him. When I was a teenager living in Madrid in 2002, I was an artist from being on TV channels and on the radio, a popular artist. It happened to me while I was in a pandemic that there was a song that I thought would benefit from your contribution. We tried to contact him, he did not know him personally. He heard the song and told me to do it. It was a production from a distance, but with a lot of back and forth. I ended up meeting him when I went there.

https://www.youtube.com/watch?v=aD6khg5i4vc

-What did you get inspired to make the songs on this album?

-Of course the pandemic went through it. I composed things in my quarantine, and also in that summer gap in which there were tours and vacations. It is a disc quite crossed by the bonds. I have many songs that I write to friends, that I write to myself as well. Conversations with me … It is a very bonding album and in which I talk about my love towards these bonds, both as a couple as well as family and friends.

-Just the most beatlesque song on the album is called “Los amigos” … As with Santiago Motorizado, who dared to experiment with genres unrelated to his work, do you fantasize about the idea of ​​being a popular musician whose themes are able to adapt to any style?

-I don’t consider myself a rock musician. I am a musician who can do rock or folklore, or wherever life takes me. “The address” or “My house is your house” are songs that have super traditional Argentine roots. The first is a chacarera, while the other comes from being composed as a carnival. I think so. In the end, what matters are the songs. And yes: I feel very comfortable doing popular music.

-Did your dad listen to the record?

-It’s crazy. He loved it.

Leo Sujatovich

The evolution of faith

Besides Patricia Sosa, Juan Carlos Baglietto and Lito Vitale, the fourth invited to sing the Argentine anthem in the recent National Team match against Brazil was Mateo Sujatovich. That speaks of his present and his popularity, although it is also a paradox because the other three musicians are contemporaries of the father of the leader of Knowing Russia, Leo Sujatovich, spinetta Jade and Tantor extecladista, and accompanying musician of PorSuiGieco and Nito Mestre. “I loved it The direction, apart from the fact that I was watching the evolution of the demo that he showed his mother and me, “says the musician, who became a substitute keyboardist for Knowing Russia on the date he offered last December at Mandarine Park. “His faith in songs evolved. Insecurity in art is the order of the day. We carry a load of uncertainty and leap into the void that we hope will dissipate. I could perceive it in my son, who is very sensitive, and we already see the result ”.

When speculating about the phenomenon that revolves around his son, the artist explains. “It seems to me that what happens with Mateo is that his charisma is viral. All life was like this. He was a special person, very loved by his friends. A fertilizer of the art of friendship. That’s what made people want to see and hear it. If you listen to the lyrics of the new songs, they talk about it. Mateo has kept his friends since elementary school. And people feel good when they profess that art ”. And incidentally adds, by way of data: “He is a soul rocker, he liked it all his life. A bit of my story always attracted him. He liked knowing who Spinetta was. Claudio Gabis was my guitar teacher, when I was his age. And that transmission of rock and blues opened his eyes and ears. It opened an energy that is what can be heard today ”.

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TAMMY SEWELL

Tammy Sewell is our Writer and Social at OICanadian.com. Tammy loves sports, she writes our celebrities news. She spends time browsing through several celebs news sources as well the Instagram. Email: Tammy@oicanadian.com Phone: +1 513-209-1700

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