Paco Amoroso talks about his debut album: “Saeta is a change of chip”

Searching for the definition of “saeta” can be a cumbersome task, because its meaning is as ambiguous as it is latent. It can be a projectile or a religious song. not even the same loving paco understands a lot what is behind that word. “What do I know what it means, when I saw it written I liked how the letters worked visually”, she says with a certain innocence in conversation with indie today about the title of their debut album that was just released.

Whatever its definition, Amoroso made it his own to resignify it to his liking under the charms of the Buenos Aires night. The ten songs that make up Arrow they are the hungover chronicle of the nocturnal adventures that the artist recorded in the span of a year. The genesis of it was in the city of Bariloche, after a producer friend sent him a folder with beats. “There I wrote a few bars of what later became ‘Imán’, so it could be said that I started the album from the end”.

Almost as his cover art illustrates, Ulises Guerreiro put on the Paco Amoroso suit again to throw all the meat on the grill and launch himself as a soloist. Far from the company of his former duo Ca7riel, this time he opted for a sound marked by house and electronic dance music. “This album has a lot to do with the music I was listening to during the pandemic. I started going out quite a bit at night and got back in touch with electronics”, tells about the sound inspiration of Arrow.

He also changed his way of singing, leaving shrill screams for melodic whispers. Paco defines this metamorphosis as “a change of chip”, a necessary transformation to embody the character of the “angel of the night”. Even so, he is not alone in this party, he is accompanied by friends and artists that he admires such as The Doctor, Adrián Dárgelos, Lara91K and Tío La Bomba.

A strong point of the album are the feats. How did you contact each of the artists?
With Tío La Bomba and with Lara we are already friends, they are people with whom I hang out a lot. Later Adrián and the Doctor are two people I admire a lot, we met and hit it off. This album seemed like the perfect excuse to call them and see if they were interested in participating. They took over one and we were quickly able to create the songs.

Did you already have the parts that each one was going to sing or did you give them freedom to do what they want?
I had models with my parts already assembled and in the case of the Doctor and Adrián I left spaces for them to incorporate whatever they wanted. It also seemed interesting to me to take the Doctor out of his comfort zone, to put him in that kind of UK garage.

This is perceived, despite being a style contrary to his, the Doctor does not lose his essence.
Totally, it’s him 100%. I am interested in working with this type of artists, who will be them in any situation.

In recent times you lowered your profile a lot, you no longer show yourself so much on social networks…
Yes, actually I never really liked social networks. I usually upload things when I just have to promote something. I see myself a little away from that sometimes. Before I was very shy and I never liked virtuality. That of measuring yourself with others by the amount of likes you have seems horrendous to me. That changed when Paco Amoroso arrived. I also changed the profile so my balls don’t break. The more anonymous you are in the eyes of people, the better you live. Although I am not very anonymous, I feel that one can decide whether to fire up, attract attention, or be more chill.

Analog photography: Ezequiel Goenaga

And do you give importance to criticism or do you not care?
You get used to it. For a moment I felt that no one was criticizing me, at another moment they killed me, I don’t know… I think it’s something that you’re naturalizing. You have to suck an egg.

There was quite a bit of controversy with a comment you made about hip hop. Do you regret something you said?
Yes of course. With words you have to be impeccable, I always say it. If you are clear with your words, you avoid a lot of quilombos. Later, if people want to make firewood from the fallen tree because of something someone said a year ago, that’s it. People take hold of something to fuck with you because they’re mad at you and well… it’s all good anyway. That’s the rules of the game, you have to be smart.

You are a kid who loves to go out on the street, ride a bike, go to marches. How do you get along with people’s recognition?
That is something I never changed. I always liked to walk in the street. It seems to me the most logical thing in the world to continue taking public transport if I am going to get there faster. By far take an uber. Going for a walk, taking the subway, eating a pizza in Güerrín, are things that I would never stop doing. Fame I feel like it was a specific moment of euphoria and now it’s calmed down. They still recognize me but from a more locked place. I also try to avoid situations that give me straw, I would never pass through the door of a school for example.

Is it true that you have anonymous accounts on the networks?
I have a Twitter account that I made to see what they put [Carlos] maslaton, Andrelo [Calamaro] and the Turkish Assisi. That’s my Twitter Mount Rushmore.

Going back to the album, the videos for “Viuda negra” and “Chinga sport” follow a plot where you seem to be escaping from something all the time. It is also not clear if you are the good guy, the hero, or the bad guy in this story…
I’m not the hero, that’s for sure. The beauty of the videos is that there is a mysterious halo and nothing is very clear. What seems to you one day, the next can be a totally different thing. It is not something wanted, it just happened that way. I wanted to escape the kind of video where you sing to the camera.

In one part of the song “Suite 605” a deep voice appears, which breaks with the melody you were singing, is that an uncredited feat or is it you with an effect?
We upload the pitch to the voice. I recorded that shot at my house, it was very raw and you can hear the street, anything. When we tried to record it again in the studio, it didn’t come out the same, as if something was missing, it didn’t have the same essence. What I had done at home with just such a microphone was better than what we had done in the studio. There is something of that throughout the album, you can tell that it is recorded in different places.

The song ends in a rather particular way…
Yes, putting in the famous audio of the girl moaning was my idea. I was actually thinking of putting in the audio of a friend of mine, who is very witty and very funny. But hey, it ended up being that one. I felt that this audio gave a good closure to the song and a little unsettled.

Are there other samples out there hiding?
Yes, “Ángel de la noche” starts with an audio by James Brown and the synth of that song is the sample of a song that I don’t even remember what it was anymore. And then nothing else. WhatsApp audio, James Brown audio and synthesizer audio are the only samples we use.

How are you going to face the live presentation?
They will be with a track and a drummer, Maxi Sayes, who is a great friend of mine. I think that wave between the two is going to be noticed on stage. Although we have done the odd show with a track with Cato, this is going to be a challenge: stand alone with Maxi and see what happens and if people drink.

You said you want the shows to be set up as a party, how is that?
Yes, the main idea is not to bore people. The premise of the album is that, never boring someone. It would be inexcusable for me. When we did shows with Cato it was the same, we wanted to be as energetic as possible and make people feel like he got over it quickly.

Do you have the account pending to do something with Ca7riel again?
Yes of course. One never knows in life. I don’t like to promise anything.

Was this release planned almost in parallel with it?
No, but something crazy happened to me. One day my manager came to eat at home and chat a touch. At one point I asked him “Hey, and how’s Cato doing?” and he told me that he was already finishing recording his album. I hadn’t even started recording mine. From then on I started working seriously. With him we are brothers, but I could not stay behind.

Did they pass the topics they were writing?
Yes, in fact, after the last chorus of “It doesn’t matter” they are going to listen to some guitars that he recorded here at home. I showed him what he was doing and told him to come with the viola and record something.

What do you think about it the disk?
I heard it and I liked it. I think we both really did what we wanted to do and we each got to explore the solo side of her. That we have had that possibility is something valuable for both of us. Sometimes it can be quite limiting to make music with another person, in the sense that you always have to agree with the other and music is something very personal. Send us alone and see what wave was the best thing that could happen to us.

After all we talked about, what are you talking about Arrow?
Arrow It talks about human relationships that end up a bit bumpy. Although I tried to make it as less depressing as possible, and there are a few nostalgic mid-melodies, the whole album talks about it: the people, the bonds, the illusions and the disappointments.

Paco Amoroso introduces himself on Friday, December 10 at 8:00 p.m. at Niceto Club (Av. Niceto Vega 5510, CABA), tickets available via passline. Listens Arrow on streaming platforms (Spotify, Apple Music).



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Paco Amoroso talks about his debut album: “Saeta is a change of chip”


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