11/5/2023 0 Comments Lola indigo logoCuI am told: "You make feminist songs" I always say no, I'm a feminist who makes songs. Pop reaches a lot of people, so if you use pop to put little message pills in. This is where we go with the theme of pop. But behind your song 'Las solteras', for example, you talk about sexuality and freedom. Speaking of lyrics, it is often said that dance songs do not have a major background or message. Whenever an album comes out I feel like it doesn't belong to me anymore, that it belongs to the people. The music has that magical, you can connect with the rock and see people this summer singing that song as if it were their own. I think that has a lot of anthem and it's very cool because I'm excited to see people singing "you're the fool you left me". It's a bit my spirit that even though it hurts on the outside you're saying "well now they're going to give you for ass". It happens the same in 'Witch Woman' or in 'I no longer want ná', which was the first. You're the fool you left me and if you don't want me like that, you'll remember." I don't know, in the end there's a bit of pitorreo in my way of writing these types of songs. Something like, "look, you know what? If you don't want me now, fuck you. Is there a lot of revenge written in your songs? Let's see, that wasn't so much revenge, it was more pain. I want people to be as interested as I am and that's it, and that's usually friendly. You can do a lot of feats because both sides are interested, but collaborations? To really collaborate is that the other person cares as much as you do about the song and when I collaborate on a song I really do it. I always say that there are many feats and few collaborations. I only collaborate with colleagues because I finished a little bit to the balls. I think the basis of a good collaboration, that flows cool, and that a song like 'El Tonto' comes out is that there is good vibes among the people who are part of that. When I wrote 'El Tonto', which was the subject without him, I sent it to him and said: "hey, how about we do it together?" He was blown away and took only two days to send me his horn. Among all the songs on the album, there is a lot of expectation in 'El Tonto', the collaboration with Quevedo, how does it come about? Well, because we are colleagues, we have friends in common and we were introduced in the studio. I think you have to be divo or diva on stage, you know? Because it's ugly to be bad bitch in real life, isn't it? And it's cool to be bad bitch on stage. When I'm on stage I try to be all-powerful and I think that's cool because it protects me a lot. It's what I want to project when I'm Lola Indigo, because then Mimi is something else. And I see myself dragon.Why that symbolism with the dragon? Doesn't it happen to you that you see that the dragon is always the maximum evolution of everything? The things of the Pokemon, the most powerful mythological being, in the movies is always the one that everyone fears. What's going to happen, what I'd like to sing in the next few years and how I see myself once it's finished. In this album, in El Dragón, we have looked to the future. How do you face a third album when the first tells everything that is inside and the second serves to take out what was pending? Dude, in the second one I was shit because I said, "God, now what do I do?" But I went to what I liked when I was little and I was inspired by those sounds. Composed of eleven songs, his union with the Canarian Quevedo in El Tonto has many cards to not stop playing this summer: "I only collaborate with colleagues because I finished up to the balls," he says. An album where he explores more electronic sounds without neglecting the urban rhythms with which he has been triumphing for five years. Lola Índigo (Granada, 1992) publishes El Dragón, her third studio album. Lola Indigo "I am left with the courage to return to Spain knowing that I was going to charge 50 turkeys a night to dance in Joy Eslava".
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