Those that you may be in Barcelona and I go the alternative rock of the 80/90 is likely to Mono sound you one of those formations encountered in the old city with years and years making war on the basis of raucous riffs, and an unmistakable roar stratospheric inviting rock sound that we redeem our beloved cabinet leather jackets. Throughout these years the trends of these major national rock has led them to be changing record, reaching a new "welfare state" embodied in "The Sky Is Everywhere," a third studio album which has with the peculiarity of having been recorded entirely in one language - Castilian - which had been substituted by the English in their previous two albums.
Kindly quote us a little over a week with Alex (guitar) and Oscar (singer) to talk to them about this new era in which children are immersed in Mono. Spanish, Jess Senra of Sidonie and recording methods are just some of the main themes in an interview that, hopefully, be to your liking:
Where did you got the idea of owner the album "The Sky Is Everywhere"?
Alex: In my 3 years. Was traveling with him from the cart when asked if the sky was everywhere. That answer left me so psyched that I thought it might be a good title for the album.
Curious! Going to talk about the album itself: this was an album with which you have broken all the barriers of linguistic. If You chanted in English before, now you do in Spanish. What led you to make this change?
Oscar: The transformation came given to reach a ceiling on the opportunities offered us the English language. We wanted to somehow change the path and direction of the group. It came naturally: we started in Castilian. Our first demos and our first attempts were in our language. Little by little we realized the English language that quite clashed with our interests, and things eventually turned.
¿You saw more difficult to compose in English?
Oscar: the contrary. In English it is much easier than writing in Castilian. Everything is much more monosyllabic and spontaneous.
Alex: Yes, what happens is that in English would sound all much more extreme.
Oscar: The Castilian softens it all. Language is a very "soft" as it were in some way. The English sounds harder.
Because your two previous albums showed a very aggressive alternative rock and close to what was heard in the 80. ¿You were aware that this change was to soften the contents of your songs?
Alex: Yes, and in fact we wanted because we were in no man's land with English. It's funny but when we played with groups always saw that we were the group had just cane and not marry well with people, you know? We were too sugarcane to where we wanted to be. And if we played with people we sounded too soft very sugarcane. Somehow we had to soften a bit our music, but there are songs that put enough cane.
Absolutely true. In fact, reviewing the record, I found some surprises. One is 'Ron Añejo', a song which oddly is the most relate to your previous "I". Was it coincidence that the theme llamaseis well?
Alex: Actually, it makes sense but not (laughs). The subject was born with a guitar riff that actually was the end of a song that sometimes we played in trials but never came to anything.
Oscar: One of the few songs, if not the single, which sounds like a Fender. And that note sound level is an outrage. For me it's one of my favorites of the album, who knows, maybe it ends up being the second single from the LP.
Of the themes of "The Sky Is Everywhere," which caught my attention most was 'The End of Any Story' basically because as the latter grows spend a lot.
Alex: When we were recording the subject knew that this would be the most different of the disc. It was little surprise. In fact much studio work back there.
Listening to him could not help thinking that the piece seemed to have been born from the simple rate at which it begins. Is that true?
Alex: That was, yes.
Oscar: And then the guitar riff became piano.
Another such is 'Vulcan'. One minute in length but all brown, with hardly a single moment to breathe.
Oscar: We usually do this on disks. If you notice, except the first that almost all are well, there's always one that sounds like a spit (laughs).
Alex: Actually in the second there was a song that had to be and did not put, do you remember?
Oscar: Yes, always try to do some songs super super short and direct, like 'The Young Dolores'. This song sounds just before 'Formentera' and is based on a little boat that went from Ibiza to Formentera. Let's say the intro is so cool and beautiful as the journey you live in the waves at the edge of the boat.
The case of 'Formentera' I found even unusual. He knew the friendship that unites you guys Sidonie, and in turn am also knowledgeable about the love they profess for the islands of the Balearics. Seeing this, how is this issue reminds me so much Sidonie?
Oscar: I tell you a secret: this song started to do with Jess Senra. In fact the voices work fully with it. Are you someone has told on that? (Laughs).
No, no! Pure deduction. Another thing that caught my attention: on this album have done a version of 'Dakota' by Stereophonics. Does the letter is equal to the original?
Oscar: It's the same but adapted. Literal, literal transcription could not be done.
Alex: Actually the original letter was a little ...
Oscar: ... ribbons (laughs)
Alex: Yeah, the lyrics are a little ridiculous. When we translate we were a little "ostia ... shit." We had to adapt a bit to make the thing quedase well.
What led you to take that item and not another?
Oscar: We had several versions made for years and one day we started playing this subject we liked them all equally. The idea was to play only live but in the end we thought putting it on the disk.
Alex: We wanted to serve us well to attract more people.
Oscar: A "MClanazo" I call.
And the last track you recorded it with Mürfila. The theme has a set of beautiful voices.
Oscar: Yes. For this time we wanted to include a female voice on the disc and as Mar's colleague and videos for us to throw miles with that idea. It had to be it yes or yes.
Alex: Actually when we entered the study and had not finished. We create it all in there.
Oscar: You have a very Simple Minds roll. In fact it is his voice that just the disk.
Favorite topics disk ¿?
Alex: It would be a couple. 'The Sky Is Everywhere "and" Ron Añejo'.
Oscar: And 'This Town'.
Alex: Well, actually we were working two years in 'City of the East'. At one point I think no longer wanted to do it. But the end came. It was just easier to do what we did. We gave too many turns and it was much easier than that.
Oscar: Now to compose very complicate us. And then we go into the studio and we begin to remove things.
Do you think that's because many years have you been working?
Oscar: No, basically because we want to complicate life (laughs).
Alex: Generally, yes.
Oscar: But there's always a touch of Monkey are unmistakable.
Interesting. And now, for this 2012, what plan / tour you have planned to do?
Oscar: We are currently programming everything. We plan to make the presentation in Barcelona, then Madrid, Castellon ...
Alex: The idea is to Catalonia through the rooms and play in as many places as possible.
Oscar: I go to the Grammy as well.
With Mono you never know. Will come, now!
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