Independent Perspective News

Translation by Carolina Friszman.

These days, the former leader of the Fabulosos Cadillacs is actings as the protagonist of Martín Rejtman's new film and is finishing the edition of his first solo record, without is teenage friends. Those are not the only changes that appear during an intimate and somehow melancholic talk, in which he speaks of his parents, his son, his love for water and untidiness.

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-During a break in the shooting of 1.000 boomerangs you dived into the Chascomús creek almost without looking. I was stunned by such confidence...

I really love being in the water. As a very young boy I would dive in the sea, and I learned how to swim with the waves, something very special for me. Anywhere I go I look for the sea, a river, whatever. It doesn't scare me, it awakens me, it can put me in a good mood in a second. It's not only the water itself, what I like is the sensation of getting in a such a wild place of nature... The same happens to me when I go for a walk at night. It's almost the same necessity of going out to the balcony to feel the cold, the immediate effect of something livening that's within reach.

-I've also observed that whenever you come to a place, no matter what, you make yourself comfortable real soon, as if you needed to make yourself at home. (...) Most people tend to be more fussy and take their time... some can't travel if they don't carry a lot of things with them.

I don't carry anything when I travel, not even clothes. I adapt easily to all places, and in fact I think it's essential to be able to do it. It seems to me really uncomfortable to depend on something to be comfortable. I just don't take more than I need, I don't like having stuff to carry, I don't mind being anywhere. I don't care a lot about anything, although I do make choices when I can.(...)

-Have you always been so unattached to things?

I realize I'm exaggeratedly unattached to things, but I don't see it as a virtue or anything. I've been like this since I was a little boy and now I think I take advantage of it; I think it's OK. When I see somebody not being like that, I think he suffers more, or he makes it hard for himself. I prefer not being too attached to anything.

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-Now that you're recording the vocals for your album and playing the leading role in Rejtman's movie, and that you also have your son Florián, Valeria, your home, and you have to travel abroad to mix the record, how do you organize all that in your head?

(...) It's all bound together by something. I'm not sure what it is, but it all has to do with everything else, and each of the pieces motivates the rest. It's some kind of concentration. I feel that right now I'm very, very concentrated in what I'm doing and there's something of it all that's the same - what I'm singing, acting or being as a father. It's a certain concentration when doing things, there's something I want to say with it all, I'm not sure what it is, it's not even in the lyrics I can write or in what my character in the movie says, but in the way I do things. In that 'how to do things' is all I want to say. I believe I've come to a point where the way I sing has a meaning itself. (...) Believing I'm saying something with it helps me a lot in what I do. Somthing like "what I want is to work". Whatever it is, being really concentrated, do more and more. I like developing a craft and execute it to the bottom, like a blacksmith or anyone who works on something does. (...) I'm not speaking of an artistic object, it can be an ashtray.

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-When you sing, can you use certain resorces if you're not particularly inspired some day?

I do, most of the times, and I like it when it happens. I almost prefer not being on fire to concentrate more in making use of good artificialities. That's what I like about developing a craft, to use all you can without exposing yourself constantly. Besides, if it was the other way about, I guess I wouldn't have any body or head left to keep going.

-Did you use to believe, as a child or a teenager, that you should give it all on stage?

Yes, I believed I had to make the stage explode. Rock feeds this idea and states that doing the opposite is wrong. It's very unpopular. The truth is I don't care about rock at all; I never did.

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-What do you cross out when you write, where do you turn?

I write about desires. They're not even clear, but I like shaping ideas about personal desires which have to do with the concentration I was talking about before. (...) The whole record is about a desire to get out of it all, for all of us to do it, to stop being closed in what we thing, to do what we have to. (...) It's about our idea of what's happening to us in a wider sense, not only as Argentinian people. The idea I have of how I'd like us all to feel: to be outside this way of thinking about things, to be able to think from outside this way of thinking of us. Not only thinking about what happens, but also about love, relationships, everything.