2023-08-18 08:42:00
The Massacres are always. Although we don’t see them very often and we don’t hear them much, at least not as much as we think, they, the Massacre, are always there. They have always been there and, no doubt, they will continue to be there where we know they are, before under, now not so much, and from time to time, mainstream. Like now, what They come from bursting a Great Rex, who released new music, “She goes”/”The Date”, a single released the old-fashioned way, with Side A and Side B, on vinyl and only later digitally. Two songs that will be part of “Nine” his imminent ninth album of study that will make them even more mainstream. But only for a while. They will then return to under mode. Because, it is known, in Massacre, under y mainstream They are two relative concepts.
Massacre will be this weekend in Neuquén, more precisely This Saturday the 19th at Club Pacífico, within the framework of the second Blend Fest, the festival that fuses music, audiovisual productions, graphic art, photography and gastronomy, where he will share the stage with the locals Sittah and the Danger of the Winds; Holms and Therapy.
The gang led by Walas, perhaps one of the most interesting figures of Argentine rock & pop and certainly one of its best singers, is about to release his long-awaited new studio album, after “UFO Bible” edited in a distant 2015 (Who knows what country we were then?). Eight years later, Massacre is ready to return to the mainstream arena that usually appears every time there is a new album and of which, in the case of “Nueve”, the new album in question, we also know, “Butterfly”, the beautiful song Edited in June 2021 and produced by Gustavo Santaolalla, who also provides vocals and guitars. About this, why Santaolalla is not the only producer of “Nueve”, how “Nueve” was made and what its lyrics and music are made of, Walas spoke with BLACK RIVER Journal.
“We finished recording the album from which we released a single on vinyl and on platforms, Ella va y La cita”, sums up the singer born 57 years ago in Buenos Aires. under the name of Guillermo Cidade. “On the side of the living, We did a show at the Gran Rex in mid-May and we went on a tour of the country. While we’re putting on that Great Rex show, for this occasion in Neuquén we put on a little more classics, as well as presenting the three new songs on the album, some covers, plus the necessary encores”.
Regarding the album, he commented that it is finished after a lot of work. “Nine” is a novelty for the Massacre, since it is a record made with three different producers and in a planned way. “A triptych”, in the words of Walas, where each producer was in charge of three songs. Of the three of Gustavo Santaolalla, about whom there is not much to say that is not already known, we got to know the psychedelic “Mariposa”.
Of Héctor Castillo, producer with a vast international career, Among others, he was from “Fuerza Natural”, by Gustavo Cerati, he was the one we knew the most about, since he produced “Ella va/La cita”. Instead of the third producer we will know when the album comes out. Is about Federico «Fico» Piscorz, none other than Massacre’s guitarist, this time in his double role as musician and producer of the band.
The course of “Nine”, which was thought, written, composed and produced in a pandemic, and Walas will already recount its effects on the album, began, by request of Santaolalla, in the Romaphonic studio, in Buenos Aires. Afterwards, they went to Texas for ten days, where they settled in the extraordinary sonic ranch studios to record the Castillo part of the disc; and finish at the Panda studios in Buenos Aires.
Why three producers? By pure experimentation, replies Walas. “We liked experimenting with the differences in sound, textures, with what each one of them could give us. After working with a single producer such as Juanchi Baleiron or with Afredo Toth and Gustavo Guyot, We wanted to try someone like Héctor Castillo and Santaolalla, with whom we have a friendship”.
The friendship with Santaolalla that Walas refers to began a long time ago and the connection was much more than musical. They found common interest in issues such as the extradimensional, paranormal phenomena and conspiracy. “From him I learned to define that as quantum physics,” he admits. “Then, one night, having dinner at home with him, it occurred to us that he could produce us and I can say that the kid’s dream came true.”
In that encounter between wines and paella, the records appeared. “He began to stir my records, at one point I put my music on him at his request. I made him listen to old Massacre records, we talked and the idea that it could produce us was around.” The kid’s dream come true are the three songs that will appear on “Nine” and of which only “Butterfly” is known.
The album, with three different producers, is, in the words of Walas himself, “recontra eclectic, What’s more, we have to see how we manage the songs, if by producers or by random means because we have to think about their vinyl version. It is an album that will have 9 songs, so there will be five on one side and four on the other, we have to see the duration of the songs because some are very long, psychedelic, symphonic, progressive, there are all of them”.
How is each phase? Wallas account: the Santaolalla phase is more psychedelic, he played and sang, he asked me if he could add voices and guitars and of course I said yes. The Texas phase is completely desert, the sound is much more desert, it is seen that the place influenced us because we achieved a sound more of a desert road. And the Piskorz phase is much more experimental. with three songs that are very good”.
This record has many hymns to the new spirituality.”
Walas, lead voice of Massacre
How the Massacre guitarist came to be the producer of a record for his own band was after a proposal from his own colleagues. “He rose to the top, in parallel to playing in Masacre as a DJ and as a producer. The truth is that he has been producing better and better to the point of having earned the honor of to be on this podium of producers with Grammy and Oscar winners such as Castillo and Santaolalla. We put the trust in his hands so that he would produce us and he was the most demanding of all”.
Regarding the material that “Nine” is made of, Walas highlights: “This record has many hymns to the new spirituality, it has songs like ‘Medusa lunar’ and ‘La máquina del tiempo’, even ‘Mariposa’. It has a lot of quantum physics, many of the things we like with Gustavo Santaolalla, it has much of the UFO phenomenon, the paranormal and the paradimensionalWe are happy with the album”.
“Nine” was conceived, written and composed in a pandemic with a lot of collective work, but remote at the same time, as was everything that today seems certainly distant and is not so far away. “There was a lot of remote work we killed each other with cell phones, headphones, passing ideas to each other, working a lot in the ‘do-it-yourself’ way, inventing things to be able to record, some with good equipment at home, others with more vintage things and cell phones and headphones, but we get along very well, each one on his own”.
While some had Pro Tools in their homes, Walas worked in vintage mode with what he had at hand and that was how he sent his work to Santaolalla. “Me with organs and guitars from the 60s and 70s, everything very vintage was my thing and I managed to send things recorded directly with the cell phone, there are demos that we gave to Santaolalla that are recorded directly with the cell phone.”
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