Home » Gomz, interview in Mondo Sonoro (2024)

Gomz, interview in Mondo Sonoro (2024)

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Gomz, interview in Mondo Sonoro (2024)

Published last year, “Dying in heaven” is the first album by Raúl Gómez, known artistically as GOMZ. Months later, we have spoken with him about his current moment, his album and his experience as an opening act and musician for the “Papel de Burbujas Tour” from Xavibo.

Salamanca (February 23, Sala B Caem), Gijón (February 24, Sala Acapulco), Valencia (March 8, Sala Repvblicca), Barcelona (March 9, Sala Wolf), Madrid (March 14, La Riviera), Zaragoza (April 5 , Sala López), Bilbao (April 6, Sala Santana Blue), Mallorca (April 13, Sala Es Gremi),

You released your first album last year. How has the reception been during all these months?
I’m very happy, really. One of the songs, “My rival”, has been around for longer, it was possible to obtain it and it had exposure because it is liked a lot. He helped make the album known. Many people have met me through the tour with Xavibo and I am happy because it is being noticed. I have more monthly listeners and people buy tickets to see me too. I want to do my own concert, I did one before the summer, but we want to do another one in Madrid and Barcelona.

What has it been like to recover “My rival”?
It is a song that represents me and since it is my first album, it seemed super special to me to have it. What I am working on for 2024 is very similar on a production level, in focusing on the piano, in writing things that I am experiencing… It has been two years of composition, a process of experimenting with music, of knowing how I wanted to sound and to get to know the team I work with. I was with Pau Riutort and Fake Guido (Bad Gyal’s base producer), who work with artists like Natalia Lacunza or Rosalía. At first it was weird because I didn’t know what I wanted to sound like. It’s been cool, but hard being an independent artist and having to constantly finance the project. As I made songs, I paid for them. Until I was able to take a concept of everything and say: what is going on with all these songs so I can focus it on something visual? “Dying in Heaven” was the first one I did, when I left the studio I knew it would be the title.

“Xavibo, Recycled J and I are going to sit down again and I’m going to release collaborations with them. I’m really looking forward to it”

Until now you have focused a lot on feeling, sensitivity and depth. What would you say has been the most complicated song to make?
It hasn’t been the most difficult, but “Una pena” is still the most emotional in all my concerts. It is a very special topic because it talks about the fact that my grandmother is no longer here. I wanted, in some way, to do therapy with that issue. I wrote about when you go back to your grandmother’s house and everything is different because she’s not there. They have been two difficult years and all the titles are quite sad and toxic, but it has helped me a lot to be able to carry out the creative process. My way of freeing myself, to not be so bad, is with the piano and production.

You just mentioned in an interview that it is more therapeutic to compose for yourself than for other artists.
Yes, 100%. It depends on what or who you write for. I like to investigate what I have experienced when I do it for myself. When you compose with other people too, but it’s not the same, because you’re not thinking about yourself and you’re focused on the other person. It works for me. I always recommend writing what comes out to you and if you feel like adding a chord later, then great. I value the gesture of writing and saying “shit.”

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What influences would you say you had on this album?
It’s a hodgepodge of ideas. The main reference is the classic, I think it will always be present. I studied violin and I have always liked that classical thing: an epic moment makes my hair stand on end. At the production level I listened to Sampha and Ralphie. Sometimes I came to the studio with songs, but in general it has been playing and seeing what comes out. I left for four days with my producers and we started making noise. Melodies and lyrics came from there. It was cool to compose this way and not just on the piano.

On the song “ZIGZAG” you collaborated with your friend Alice Wonder. How does she arise?
Naturally, we didn’t plan to release a song together. One day we met, we sat at the piano and he came out. She had a chorus melody and in the end we didn’t even use it, but she taught it to me, I started playing the piano and we brainstormed ideas. A year and a half has passed since we made it. Coinciding was a hassle, always having a beer [risas]but to spend the entire day working there… I’m happy with the result.

Before summer you did a concert, right in your homeland (Coria del Río, Seville). How was the experience? Because I imagine he was the first there.
I did one ten years ago, after leaving a talent show. They weren’t my songs and they didn’t feel like mine. This was really presenting the album to my entire family, my city, my friends…I was nervous. It was an odyssey, because the gig was alone, but we managed to do something very cool. I brought in a lighting technician and we made a very cool concept with the screens. I enjoyed the concert and I think people really liked it, that’s how I felt.

In addition to the album, you have been doing quite a few things: Benidorm Fest as composer of Alfred’s song, you are a musician and opening act for Xavibo’s tour, and you also launched the collaboration with Recycled J…
Yes, very crazy things have happened to me. This comes from having started in music by composing. I have met many people and have good relationships. Xavibo, Recycled J and I are going to sit down again and I’m going to release collaborations with them. I’m really looking forward to it, everything I’m going to release is much more like “Not a single word” (cover of Paulina Rubio’s song) than the album. I’m going to the piano and very special people are joining the project. I want to tell it.
Almost ten years ago you were the opening act for James Arthur, I imagine that it helped you a lot when it came to giving concerts and knowing how to be on stage…
It was quite an experience, like now. I think I haven’t been an opening act since James Arthur. It’s being very different because they are friends and I travel with them. But it helped me a lot with opening and the pressure of being an opening act. I try to take it calmly because no one has come to see me, if someone likes it it’s great and if not, the worst thing that can happen is hearing people talking. But it never happens, so I’m happy. I think I connect very well with people live.

“I am a very persistent person and I finance my entire project with the songs that I upload to other artists”

In 2020 you introduced a new stage name, leaving your given name behind.
There were many decisions for the program that were not mine, I was in the middle and I didn’t know much. A lot of people decided which songs were going to go on the album. I wanted to start something from scratch and decided to make a new profile on Spotify. With a couple, I also tell you. I’m a little unconscious, I suddenly get an ambition. I think I still have time until people don’t say GOMZ as it sounds and say it with an e. There was already a group that was registered, with quite a few monthly listeners

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¿Gomez?
Yes, because of the face. They’re Irish, if I’m not mistaken. I decided to remove the E because I wanted to carry my family’s name and not forget my roots. Working my name in another way.

How was this beginning?
It was hard, because I released my first EP, “0703”, two weeks before the pandemic. All the money was not in vain because people listened to him during the pandemic. But I had concerts scheduled, a press…and it fell. I think it was the first blow that the life of an independent artist gave me, being aware. But I didn’t take it the wrong way. I am a very persistent person and I finance my entire project with the songs that I upload to other artists. At the end of 2020 and beginning of 21 I was composing for many people. I’m at it again, climbing and growing a lot at the composer level.

You were in London for quite a while. Wouldn’t you dare to sing or make a song in English?
At first, in fact, I wanted to sing in English. I left to improve the language. I am very comfortable singing in English and I never close myself to it. But it seemed to me that it was more coherent to do it in my language, since it was a project that bears my family name. In January I’m going to London for a week to compose. I haven’t been there for four years. I want.

You have quite a connection with people in the musical sphere: Alba Reche, Ona Mafalda, etc. What is it like to be surrounded by people who do the same thing?
It’s cool, we support each other. We are not only artists, there are also people from other media in the group: stylists, creatives, etc. Martina Hache, is a director and makes video clips, she has done to Alba. I am composing for Ona and I have composed with Anaju as well. I think we understand each other very well because we dedicate ourselves to this, which is not easy. When you’re on tour, I’m with colleagues now and it’s cool, but the day I have to do one on my own and I can’t take so many people, I’ll play and go to the hotel. These types of situations, if you live with people who understand it, because they have lived it, it is different. We love each other a lot.

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And let’s move on to the last two questions: How would you define GOMZ for those who don’t know you?
GOMZ is nostalgia and sadness, but also purity and honesty in what it wants to tell. I wouldn’t say it’s therapy, but I try to have a little bit of everything I’ve said in the songs of my project.

What is your favorite Vans model? And why?
Well, they are the Vans slip-on Checkerboard. It is a model that I have used since my adolescence. They are iconic.

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