debe ser un día muy especial

June 29, 2007 at 7:14 pm 1 comment

Rosario Bléfari is not a musician. She’s not an artist. She’s not an actress. She’s not a director, nor a screenplay writer, nor a journalist.

She’s not any one thing; instead, she’s all of these things and more.

We’re careful with hyperboles and the way we use them, but Bléfari warrants each and every one of them. She was part of the beloved 90s indie rock band Suárez, inspiring the current generation of underground bands that dot Buenos Aires’ underbelly. After the band broke up, she began her solo career, with every album besting the previous one. Her songs are true pop gems, three-minute reminders of why you fell in love with rock music in the first place.

And even if indie pop isn’t your thing, you’ll still find a reason to join the cult of Bléfari: she stared in the film Silvia Prieto, wrote a book of poetry, and wrote, directed, and acted in the play “Somos nuestro cerebro” and “¿Somos nuestros genes?” Oh, and in her spare time she writes articles for magazines like Plan V, urging readers to take action in protecting the environment. 

So it’s no surprise that for soy so lindo’s first interview, we chose Bléfari, our icon of cultural production in Buenos Aires.

After the jump, read about why Bléfari’s latest album, Misterio Relámpago, is getting a proper release party a year after it came out, how Argentina has effected her music, and where she goes for the best pizza in town. And don’t miss her album release show tonight at 21 hs at La Trastienda!

This Friday is the official presentation of Misterio Relámpago-why now, a year after the album was originally released?

For different reasons. A path traces the average between what one desires and what’s possible, no? The album had barely come out, it was one of the most critical moments of the “Post Cromagnon” effect [in Buenos Aires]; it was difficult to get venues to play in, or venues were already busy with other shows, or they were very expensive, in short. In my case, I needed a place minimally appropriate for a presentation [of the album], but it ended up being just another show. So I did shows of all types in the venues that I could until the possibility of playing this Friday at La Trastienda came up. And, well, here we are.

The other part is that I like to play these songs in a type of celebration, in which the majority of the audience knows the songs and it ends up feeling more like a culmination than an inauguration, which orders me in front of new songs.

Do you view the album differently than you did a year ago?

I see it fairly similarly, still. I believe that yes, after this Friday I will begin to have another view of the songs. Right now I’m trying to get myself to the side of the performance that puts them in the place that was their spiritual birth.

If you could go back to the studio, would you change any songs? Yes. I would change one song. Before recording, when working with the musicians, I would ask them for something different that would escape a determined genre.

What inspires your work?

People, their lives, and the words themselves when they combine and assemble images and characters.

What effect does Argentine have on you?

Ugh, that’s a theme that gets me a bit annoyed. I know that all of the good and bad that makes me could only give the result, that is me, from here, but many times I’m not in agreement with this result. There are things [in Argentina] that one gets accustomed to, or things that one fights with. I think that they make you neglect many other aspects that could be developed.

And also, when I feel insecure I think things about the making of rock in Argentina, that it’s a type of stupid remark. Sometimes I say to myself, it’s like those Japanese tango orchestras; that there I like it more, but others give me a sensation of something outside of the place that drives me mad.

Your work was included on the compilation 4 Women No Cry. How does your music fit in to the global indie rock scene? Do you believe that the country or place has an effect on the music that is created?

Yes, without a doubt. But I would like to be from no place, or from many places, or from all places. The localism perhaps is esteemed more by others than by me. It’s impossible that something depends solely on the origins of a place. Influences travel continually. So I relate myself with other artists even if they write in Swedish, and I read them translated after. I appreciate them when a connection returns us to the same place, beyond our circumstances.

How has indie rock here in Argentina changed since the 90s?

I don’t know. The truth is that I’m really bad for this type of analysis: I’m partial, subjective, emotional, and badly informed. I’m not proud, nor do I want to give my opinion on things from such an unstable place.

How has your music changed over the years? How have you developed?

I perceive my music to be like an ocean. The ocean of all the things one is: what I listened to one time, what I was made to listen to, what I read, what I lived, what I know, and what I don’t know about musical technique. This is continually moving and following certain imaginary ones that are ignited and leave the surface, and some of these things begin floating and connecting. When the imaginary ones stop, like a system, and that subtle network of relations is undone, the objects return to the sea and they are mixed again to appear again in the middle of another lit imaginary one.

What new projects are you working on?

I have two more albums. The albums are already written and demoed, and I’m going to record some of them this year.  It’s going to be a studio album.

Rosario  Bléfari’s Buenos Aires:

Favorite neighborhood:

San Telmo, Congreso, Bajo Belgrano, Villa Otruzar.

Favorite street:

Pasaje Rivarola.

Favorite pizzeria:

La Americana (Callao and Bartolome Mitre) and Pirilo (Defensa and Independencia).

Favorite café:

El Banderin (Billinghurst and Guardia Vieja).

Favorite store:

La Casa de las Aceitunas (in front of El Banderin) and Casa Ga-Ta (Peron 1314)-just screws!–REBECCA

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Entry filed under: calendar, film, indie, interview, mi querido diversión, music, pop culture, rock.

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