Home » Pony Bravo, interview in Mondo Sonoro (2024)

Pony Bravo, interview in Mondo Sonoro (2024)

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Pony Bravo, interview in Mondo Sonoro (2024)

Pony Bravo reappear to rescue us from the rising dystopian pessimism with “Tropic” (Self-released, 24), a dozen songs by which they proceed to ooze that insatiable artistic effervescence that has characterised them since their beginnings, delving into their very own universe and increasing their private and magnetic components with an additional of unique music and atmospheres of traditional soundtracks .

A brand new seamless surreal collage that flows and drags us just like the clear water that comes down from the mountain, throwing tragic actuality at us with sharp criticism and trademark danceable irony.

We enter by the white mirror and speak with Daniel Alonso, composition, voice, keyboards and paintings of Pony Bravo.

Let’s begin with the top, which in actuality appears to have been the start, the germ of this fifth and extremely anticipated launch: the tune that closes the album, “Reflejo Exacta”, the place kraut funk expands with lounge sensuality and displays a world with clear wink and in distinction to “Black Mirror”, that “white mirror by which you take a look at your self… white mirror I belief in you.” Tell me, please, about these concepts that replicate within the “white mirror.”
It is a combination of utopian and dystopian concepts, it’s about going by all of this following traditional concepts and approaches from genres akin to punk or put up punk, the fundamental thought comes from the necessity, maybe, for extra optimistic approaches which might be often a minority in genres. like science fiction, the place fairly pessimistic approaches at all times predominate in regards to the future. It is about imagining an opposition to that concept of ​​a darkish and unhappy black mirror by which to replicate. The lyrics begin from there, from the problem of producing utopian tales, or attempting to get out of that unusual transition between realism that finally ends up turning into cynicism on extra events than we want.

“We are all combining the work of every one with the group”

The “cooking” strategy of this fifth album has as soon as once more been sluggish… Of the virtually six years of penance that you just made us undergo with the wait between “De palmas y cacería” (13) and “Gurú” (19) , to the 5 who’ve separated us from this “Tropic” (24). What has the artistic course of and recording of “Trópico” been like?
We have been adapting the way in which of composing on this new time the place we’re every dwelling in numerous cities, we have now been composing in small blocks, in numerous gatherings collectively, typically in my city, others in Barcelona, ​​additionally just a little from a distance; however on the whole it has been a traditional course of of constructing lyrics, demos, songs, recording, in that sense every part continues as at all times.

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Furthermore, you could have traveled different paths, collectively and individually, throughout this time. Please remind us of a number of the tasks you could have labored on within the final 5 years, from “Gurú” to “Trópico”.
Two years in the past we introduced “Espejo Blanco”, a stage venture the place we confirmed a part of the visuals and compositions that later fashioned a part of this new album, and Fiera’s new album additionally occupied a small a part of that point; however basically we’re all combining the work of every one with the group, that’s the day after day in actuality.

And once more the music within the foreground and that troublesome artwork that you just deal with so nicely, that of, maintaining your impure essence intact, not repeating your self and persevering with to mutate and including layers and genres to the imaginary of Pony Bravo…
The thought in that sense has at all times been a type of virtually involuntary mechanism of reflecting the music that we hear, a pure try to not repeat ourselves, to at all times evolve just a little, it’s just like the evolution that all of us proceed listening to music all through the years. years, it’s an influence additionally generated by the chums with whom we have now at all times shared music and conversations, with out realizing it, all of this accumulates and results in small evolutions over time.

Another addictive characteristic made in Pony that we discover intact in “Trópico”: Humor and criticism primarily based on utilizing collective tradition freely, sharp irony and humanistic spirit, with the Sevillian idiosyncrasy at all times very current, flying over the surreal and the unfairly shabby. time to create songs and the highly effective and hilarious visible world of the band.
It’s virtually an inside behavior, a behavior when commenting on what surrounds us, I suppose, that strategy is a part of how we relate, of the conversations we have now once we are collectively, there may be already that combination of humor and criticism many occasions. I additionally suppose that the affect of traditional teams akin to Derribos Arias, Dead Kennedys, Talking Heads, and many others. That custom accumulates within the lyrics and visuals, it’s like following a protracted conventional line of texts and visuals that inform one thing particular, one thing that has the identical significance as music in actuality, every part is a part of the identical intent, on the identical degree of significance. .

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Following this line of protest and denunciation, considered one of my favourite songs on the album, “Piedra de Gaza”, with these utterly absorbing choirs and tribal rhythms, the bass in command and keyboards that maintain us in a steady trance… And lyrics that , being of complete tragic relevance, it appears as if “these stones” have been flying in your head for for much longer
The lyrics had been written years in the past, it’s an outdated lyric, there may be an affect from the factors of view of the historian Ilán Pappé, from that reminiscence of generations of Palestinians of life earlier than the Nakba of ’48, and when the battle was reactivated we had been already recording it, it was actually a coincidence, and now that every part is as it’s, it acquired that further level that you just point out.

“It is a part of how we relate, of the conversations we have now once we are collectively, there may be already that combination of humor and criticism”

We arrive to the colourful sound of “Jazmín de Megatron” and the occasion reaches a climax primarily based on funk, disco and flamenco phrases (“I’ll keep in Megatron, as a result of there I’ve my stunning love”), creating scenes beneath a ball of mirrors that already We will not have the ability to get it out of our heads, like that Mr. Miyagi from Karate Kid dancing and singing “give a celebration, polish a celebration.” What was Megatron? Tell us some recollections that come to thoughts about any of them, please.
Megatron was a three-day mini-festival that we had been organizing with good buddies for a couple of years, the concept was to get pleasure from bands that we had a relationship with and that we liked in an exquisite place, with a pool, meals, classes and a spot to sleep. There had been teams like Los Voluble, Mansilla, ZA!, Fluzo, Fer Negro, Música Prepost, Fiera, Perla, Ylia, Industrias 94, and many others… Megatron was related, in that sense, to proposals like Lemon Day or Keroxen, these tasks They had been at all times a standard reference, tasks made by and for buddies with one of the best music potential.
There are many recollections, we at all times misplaced cash between laughter and chaos, typically it rained and every part went mistaken, there was a chaotic and spring power amongst all of us who helped and took part, we’re very keen on Megatron, they had been good events and lots of buddies collaborating and collaborating .

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You talked about earlier lots of the bands that carried out at Megatron, and the tune additionally options a few of these artists/buddies, from ZA! (“Pau is Legolas”) to Betunizer or Negro (“the Junquera brothers, they contact you every part you need”). What would you say they contributed to Pony Bravo on the time?
They proceed to contribute quite a bit, they are surely an important affect for us by way of musical work and the seek for high quality within the strategy of concepts, texts, visuals and music, they proceed to be for us one of the best tasks on the nationwide scene, together with individuals like Erik Urano, Antropoloops, Los Voluble or Elphomega, which had been and are additionally a reference for us.

And when it got here to composing “Trópico”, what albums/artists did you could have as your favourite?
On this album we have now not had many direct exterior influences, we have now labored straight on the fabric that we had been producing, however there have been genres akin to unique classical which have marked the way in which a bit, or individuals like Tommy Guerrero on some songs, or the affect of traditional soundtracks, a few of that has additionally existed as a reference.

To end, you could have already had a couple of presentation gigs and the primary one at house, with the April truthful within the background… How was it?
It was superb, it was stuffed with buddies and that festive and enjoyable ambiance if you current a disco at house, the April truthful gave the evening an additional contact, everybody was in good spirits and keen to maneuver.

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