Vic Mirallas: “In the end, each song is different and that is the richness that defines me”

Vic Mirallas, a young Spanish vocalist, producer and multi-instrumentalist, owner of a style that he defines as “experimental pop or pop that mutates a lot”, presents his praised album “Crucidramas” tomorrow at Niceto Club, a material affected by the pandemic that includes collaborations with Ca7riel, Nicole Zignago, Juancho Marqués and Carlos Ares.

Former saxophonist and backing vocalist for Alejandro Sanz, Vic was born in Barcelona into a family of musicians who reinforced “what was already clear”: instead of playing with toys, he explored instruments and very easily began to make curious and pleasant sounds listening to those with whom he became obsessed.

Piano, clarinet, guitar and saxophone are common in the Mirallas project, a project tackled by genres that blend freely (from jazz to hip hop, Latin, urban, funk, R&B, soul and pop) with the intention of “removing the public from what they are used to hearing and surprising them sonically”, he clarifies.

Trained at Berklee College of Music, over the years he has collaborated with other artists such as Camilo, Don Patricio, Muerdo and, among others, Bely Basarte. Among Argentines, he has worked, in addition to the aforementioned Ca7riel, with figures such as Benjamín Amadeo and Femigangsta.

Excited about the presentation at Niceto (tickets through pass line), a concert that comes just days after his great debut at Quilmes Rock, Vic chatted with EL DIA about his music, his origins and the birth of “Crucidramas” in a pandemic, the album that arrived under the Warner Music label.

-For Argentines who still don’t know about your project, what could you say that Vic Mirallas sounds like?
-I think everything starts from a pop essence, because in the end the melodies are singable and the general public can sing it, but at the same time, behind the scenes, in the production and in the harmonies, things are happening that are not what everyone is used to hearing. And that is difficult to define in words, but I would say that it is an experimental pop or a pop that mutates a lot: in the end, each song is different and that is also the richness that defines me.

-You have an initial classical training, then you studied at Berklee, you were part of Ale Sanz’s band as a saxophonist and you joined other jazz and contemporary music groups. Was it natural that when you focused on your musical project you would do it from the fusion of genres?
-If I start from something very simple, like a guitar and voice, I like to add electronic elements to it. I have always looked for the contrast with the lyrics and with the production. I like to take the audience away from what they’re used to hearing and surprise them sonically. And I think that has to do with the fact that I have listened to many things throughout my life and have wanted to mix and experiment.

-I know that your parents are also related to music, was it inevitable that you would follow in their footsteps?
-It was natural that I began to sing and play instruments because there were many instruments at home. And as a child I began to make curious sounds with whatever it was and I think my parents saw it when I was very young and simply reinforced what was already clear. My parents forced me to the discipline level, in the plan of “study instead of playing the playstation”, for example. But it was quite organic and I have always felt very good and had a lot of fun.

-In addition to singing, you play the piano, the clarinet and the guitar, but the sax is the instrument with which you have the closest connection, right?
-Yes. Lately I’m playing a lot more sax but, for example, now I bought a trumpet two months ago and I’m playing a lot. I’m not here to play it in concerts but I’m already changing… Sometimes I spend a lot of time on the computer producing and I neglect to study the instrument a bit but I would say that my main instrument is the sax, yes.

-And how was your bond with the saxophone born? Also as a child?
-The saxophone I started to play later when I entered Berklee. I started playing the clarinet and since there is a very small gap between one and the other, I began to experiment with the sax and I liked it. And after two years, that’s when they took me on as a saxophonist and backing vocalist in Alejandro Sanz’s band.

How was the experience of working with him?
-Well, super. I was very young and suddenly I left Boston without finishing my studies and from there I was summoned to be part of a world tour that started in Seville, so I didn’t even stop by my house in Barcelona. And suddenly go to play concerts in front of 30, 40 thousand people without me having done big concerts, well, at first it was a lot of respect, and then it becomes your job, your routine.

-How was your departure from Alejandro Sanz’s band?
-It was my decision because I had just hit the COVID thing and I no longer had concert expectations. And I signed with a Warner record company, which they gave me to live and create my project, so it was something that I said to myself, well, okay, I have to give all my energy to my project and maybe it would not be the smartest thing to go back on tour with Alejandro, at the marketing level and at the time level. So I decided to quit and everything went super well. He has understood me and I am very happy to have shared all these years with him and with his band and with his team.

Was it an easy decision to make? Were you afraid of leaving, in some way, a comfort zone and launching yourself into the unknown with your own musical project?
– I still have fears. Sometimes things happen in your career that give you the feeling that it’s not going to work, that you’re not going to get ahead on your own. But there are days and days. It is already known: artists are quite tormented beings and this is also because our work does not give us life security like many other professional facets.

-Is it difficult to emerge as an independent musician?
-Obviously, it’s not easy at all, but when you have a speech and something to say, and musically you put up with it and trust people who are talented and who help you carry your project afloat, I think it’s possible. In addition, it is very worth trying it because the good moments are super good and they also make you be the master of your feelings.

-“Crucidramas”, your new material, was it born with the intention of becoming an album or was it brewing as the songs emerged?
-It was brewing. I was creating songs, I was lucky that they came out quickly because I was in a very inspired season, and it was as a result of the fifth single that I composed when I found a connection. To reaffirm myself as a Warner artist, it was very good for me to have an album and a clear concept and those of the record company supported me at all times.

-It is an album that was born in a pandemic, something that is reflected from the title, and with songs that are a bit pessimistic….
-During confinement, obviously we were all unsure of what was going to happen to us in our career and also, well, that aroused personal insecurities. And not being able to see my friends after so much time on tour, not being able to see my parents and locking myself up with my partner in a very small place I guess helped create a certain tendency to look at each other more, to undress more. And I think that in the end he decided that the themes that were born were not happy ones but themes of introspection or criticism of society and the industry. And that’s why they’re like little dramas that I don’t finish solving either and that’s why I called it “Crosswords”.

-The album includes a collaboration with Ca7riel, how did it come about?
-We have friends in common here in Barcelona, ​​and a band called Big Menu, who are my friends, and who collaborated with Ca7riel and Paco Amoroso when they came here. I was very surprised by his way of singing and rapping and I started following Ca7riel on his networks and I saw that he had a single that I listened to a lot in loop, “Mcfly”. There I discovered that he was also following me and I was like “wow how strong”. And I just had a song that suggested a lot to me so that the people from Big Menu would play it and I said “if Ca7riel is put together it will be a super collaboration”. They had also told me that it was very difficult to collaborate and, well, I jumped in, I gave him the song, he told me that he loved the song and it was super easy to assemble- I had done it in no time and it was really a pleasure.

-How do you see the growth that young Argentine musicians are having, especially the exponents of the urban genre?
-In Argentina, an urban music current is happening that is very hopeful because it really is something that I would like to see happen in Spain. In Argentina the public is super open to new proposals and consumes a lot of the concert and goes a lot to the lives, and the bands have a super brutal artistic level, and they feel supported by a very loyal public. And that is something that I think is happening in Argentina as Spanish-speaking pioneers.

-What happens in Spain?
-I think that with Rosalía and Tangana projects are coming to light that have much more of a concept and, in general, I think that music is playing that is widely seen, for 20 years, let’s say, and that doesn’t contribute much at the level either. lyricistic or post production level. I feel like we’ve gotten stuck. In this sense, I think that in Argentina they are much more advanced.

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Vic Mirallas: “In the end, each song is different and that is the richness that defines me”


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