Goyo Degano talks about popularity and indie, idolatry in the 21st century and Paranoia Pop, the musical, which will premiere this Thursday, October 29, by streaming
When for many the 2020 had not yet begun to stretch, the Chinese Bandalos were already fully launched to the recording of Paranoia Pop, successor to the successful Bach, album released in 2018 that boosted the growth curve of its popularity, while the agenda already hinted, in pencil, a presentation in society of the new material in the mythical Luna Park.
“It was crazy,” warns Gregorio ‘Goyo’ Degano, singing voice of the band formed in Beccar in 2009; but he does not say it in terms of nonsense but rather the crowning of a time that his expression still seems to locate in the plane of the incredible. Anyway, the illusion fell victim to the pandemic and everything was put on hold. Just for a while.
“At first it was screwed up, as for everyone. But the contact remained; we had the songs and we wanted to get them out. We suspended the tours, like the rest of the bands and artists, and we held meetings on Mondays at 4:20 p.m. to plan how we were going to get the songs out, vote on which singles were going to be … “, says Goyo.
The singer spreads a healthy peace, in the midst of the maelstrom that represents the development of the Plan B chosen to release Paranoia Pop, the musical: a show with broadcast theatrical format by streaming from the Movistar Arena, scheduled to this Thursday, October 29 at 21. And he immediately reveals the formula that brought him to the equilibrium that he transmits after seven months of “isolation.”
“At first it was screwed up; the walls were falling on me, because I was not prepared to spend a weekend at my house, but later we clung to that album that we had recorded in January, and we tried, from our privileged place to It is necessary to have a roof, a refrigerator with morphi and knowing that our civic duty was to stay at home, take advantage of that time and introspection“, Explain.
Translated to the outside of the bandálico microworld, that means to have stopped the ball a bit internally. “In the band there are two pairs of brothers and we have a re-family dynamic. And as in families, sometimes you love each other and you look so much that you stay superficial. That was happening to us a bit; and this moment it helped us to deepen in a lot of things that are necessary for the project to last and we can continue to do things with the love that we do from day zero, “he concludes.
Somehow, in the silence, the feeling remains that something of the idea of Paranoia Pop is related to that vertigo that permeated everyday life of the band in the days prior to the appearance on the scene of Covid-19. But the singer is undoubtedly the person indicated to confirm or not the presumption.
Goyo’s word: “I think paranoia is that of success. The last two years of our lives were of exponential growth and, obviously, there is everything that begins to emerge around that and all the shit that you start to sink into, all of a sudden, from that paranoia and being like very persecuted, which is something that as artists we do not want. “
-Is the album the answer to that feeling?
-It was a bit like facing that from a more ironic place, which we had never faced, including new, poetic voices; and a little laugh at that paranoia of success, of that pop paranoia.
-Did they realize by themselves that they were sinking into that shit? Did everyone see it or did someone tell them?
-Actually, it was a pretty natural process of review, maybe not having such a good time, not enjoying it so much, and stop a bit and say: “Che, why are we doing this? We do this because we like to make music. Well, let’s get back to that.” Not because we were doing something very different, but it was going back without thinking about anything else. Because, suddenly, there was that pressure of everything that we had achieved with Bach.
-What was that pressure?
-The pressure of the blank page and of facing new songs and a new musical universe. We wanted to gamble and do something experimental, but at the same time we didn’t want to lose that identity that we had achieved with Bach. It was an internal paranoia, in that sense.
For Chinese Bandalos, Bach marked a turning point, enhanced by the incorporation of the Mexican producer and musician to the team Adan jodorowsky. That decision, Goyo says, made them take a turn at the production level and helped them find their own voice. “Our way of producing was to take something from an artist that we liked and try to imitate their sound with our songs. This was a much more process built from within,” he sums up.
-Anyway, as soon as the album begins to play, it flies over the Bowie de Fame, even the themes are played …