‘Stupor’. It is the title of one of the songs of Robina (Robí), the second album of is a new voice of the Valencian Country. Stupor. It is also the feeling that this record produces for bravery, honesty and sincerity in addressing the subject of feelings and mental health. It is a poignant and at the same time warm disc, based on Valencian folklore, which, with a natural and flexible voice, infiltrates with sounds of its generation without losing its root, always clear and patent. Divided into three chapters, rupture, empty and love, love and heartbreak mark the hopeful path of acceptance to herself. It presents it to Tradicionàrius on March 21 as part of the festival
ASK. How is a record born like this?
RESPONSE. The starting point is the last song, ‘Forgive Maria’. It is a topic that came out in therapy. From here I went back to my thoughts, putting them in order and chapters. It is the advantage of therapy, which helps you to do what costs, observing, defining and detecting. You can’t heal if you don’t name what happens to you. It’s what I did with the disc.
P. So, in this song do you talk to Maria Youngneta?
R. Yes, I talk to myself when I was a girl. I have not had a memorable childhood, and that is why the piece is a song to the girl I was. The psychologist asked me to observe photos of when I was a kid, and in many I am sad, not rich. I have always been embarrassing, introverted, serious. I speak on behalf of the people who hurt you and who have never been asked for forgiveness, and I apologize for all these people.
P. Does the music heal then?
R. My first psychologist made me the Tomatis Music Therapy, which consists of listening to the same song by varying the frequencies. You listen to classical music, because of the effects of its musical structure in the brain, and also Gregorian. The music saved my life.
P. Do you solve problems or learn to live with it?
R. The problem is not solved, you learn to manage it. It is a record that talks about this. Now I accept myself, rather I assume that I am, and that leads you to respect and treat you well. Costa. You have to consider yourself as a friend of yours, a friend would not say certain things no matter how much you did wrong things, you would not treat it badly.
P. They treated her as crazy when she was young as a young man?
R. No. It is also true that I haven’t talked about it so far. At that time my parents helped me a lot. Mileurists have been all my life, my mother was unemployed, and before I was not well seen going to therapy, but they understood me and they paid me.
P. He has been studying music from a young age.
R. Yes, I started with sax in six years, but it was bad. A couple I had was a dolçainer and told me that I had a singer-songwriter, and from there I started studying folk. I didn’t know him, but I saw my voice fit. When I sing traditional music, I find myself as if I was home, it is a genre in which I feel comfortable, in tessitures, shades and molds that are my. When I get off the folk I have to think much more.
P. The naturalness of his voice, not impossible, is one of the assets of the record.
R. The voice is worked but has come out naturally. On a vowel level I have worked with specialists, I have sought my tuning, my resonance, my melisms. I was done a study of what my voice is like (resonance of head, face, etc.) and it has helped me to squeeze, climb up and not be aphidized. I know my body and my voice. Generally the voice goes without many effects. There is a small distortion and frequency resources, as an experiment, but never effects that change it.
When I sing traditional music I find myself as if I was at home, I feel comfortable in tessitures, shades and flourishing
P. There are two compositions, ‘Empty, the u of crying’ and ‘consecration’, moving, where he sings almost a cappella.
R. They are naked because the second chapter talks about the vacuum and wanted to convey a sense of emptiness, which is why he only sees and guitar. And I wanted to close the same chapter, naked, with voice and piano. It is a very crying chapter, introspective, and this is achieved with little instrumentation, which leads to a closed room. The letters asked.
P. On the contrary, to ‘Whoever has invented love’, with a lying and sweet letter, there is a very poignant electric guitar.
R. Of course, I show that I am angry at a break, it had to be clear. I have had a few breaks, but I speak of the Generalitat of the ruptures.
P. There is also a break in ‘Deliqui’, and more instrumentation, even electronic.
R. It is a song of angry, content and rested. It’s time for the void after the breakup, when you always ask why, why do you have to happen? … I will be alone, you will not find anyone, I am a shit. You go down. You are sad. ‘Deliqui’ is that.
P. It sounds contemporary and in the time it is rooted in the songs of Valencian styles, even in ‘Empty, the one of crying’ uses quintilles.
R. The whole style song, like the jotes, is formed with quinters. Usually heptasyllables, although I do not adjust. It is the structure of singing with ababa rhyme. And I make fandangos, Malaga, a havanera that ends in Chacarera, but the patterns of palms on the record are as new. I base myself on folk, but I don’t exactly recreate it.
P. There are many maries on the record.
R. My two uelas (grandmothers) are called Maria. UELES show you. If you can create a woman that was not perfect but a personal example, I would mix my two ueles. I am not a believer but it seems amazing that the two are called Mary. It is a very strong name that I didn’t like as a child, but it does not go fashionable. I want to do things that I can feel within twenty years, like the name Mary.
P. He talks about grandmothers more than grandparents.
R. Uelos are another generation, like UELES, but they know why they have done things as they have done and understand better than you do it differently, they better understand the struggle of women, the feminist struggle. They have suffered more or less the same things. My uelas believe that the things I do, even if they have not done them, can help me to be a full woman. And it is not mine, when I have sought information I have always seen the same.
P. He studied at the Catarroja Conservatory.
R. I have not lost anyone dear but I have friends yes. The Catarroja Conservatory has been buried. Patches are now being made, so it will happen again. In the root and no liability decisions are made and the people who shit it do not go away, we will shit again. And it is a very sad and hard feeling of explaining who has suffered the death of family and friends.
