From the cover of his new album, Baptized AncientHilda Lizarazzo is shown in an old photo of you, taken by Alfie Baldo, when she was about 18 years old. From the clothes he is wearing, he looks like a picture from the turn of the century.
But beyond the photo and the title, Hilda ain’t nothing old, Quite the contrary: he publishes his albums independently by Discola Discos, even in this case only on digital platforms, without a CD or vinyl version. In addition, he manages alone and without a manager, without any structure. independent, modern and self-managed,
Cover of “Antigua”, Hilda Lizarazzo’s new album.
“This is the first album—he explains—it doesn’t come down to physical support, because making something like this is quite an issue to self-manage, but people ask for it. At first it hurts a little, but you have to. Gotta admit it. So I made some physical things to sell at the show, like a fridge magnet with a record cover on it.
Hilda Lizarazzo in the streets of Palermo. Photo: Constance Niskovolos
recording and video
Six months ago, Hilda Lizarazzo showed the first preview of Antigua: a theme called you laugh, released with a really cool video created by directors Danny Bohm and Robert Bonomo, featuring twenty dancers along with the lyrics and choreo suitable for TikTok. Once again, zero old.
Later, two months before, almost with the release of the album, he presented song to sing in two Along with a “video song”, with images taken by Hilda herself, a well-known photographer.
As far as the album is concerned, it has eight songs of her own which reflect her growth as a musician, all very successful. There are also two covers: Cumbia Baru’s fishermen You passengers in a trance by Charlie Garcia.
In addition, it includes guests such as Leon Giecko, Juliet Rada, Lito Vitale, Mario Perkins and an Italian rocker named David Toffolo, also from the group Tre Allegri Ragazzi Morti and Istituto Italiano di Cumbia.
The idea is to officially introduce it at Niceto in September, but it has a show this weekend as it seeks to celebrate 18 years of work together with Federico Melioli. Will be on Saturday 14 in Bebopi,
a coffee and a beret
Hilda Lizzarazzu and her Basque beret. Photo: Constance Niskovolos
One autumn morning he shows up early in a Palermo cafe and shows the photographer a beret he had bought in the Basque Country, knowing that it is a perfect accessory for taking photos later.
,Ancient It’s an album with a view of the sky – he defines it by the information he wrote for his Discola Discos label – and it’s under me at this point in my life, like nature, which was always a trigger in that sense”
There’s a letter where you say “My whole life seems like so many lives and so many memories”. Why?
-it’s like that. They are like chapters. I have been traveling the world of music for a long time and I have many anecdotes and experiences, everything that happened to me and what will continue to happen to me implies. It’s great. I am giving so much importance to time that I think it is important that we do not waste it like sand in our hands.
You are valuing the experience and the fact of leaving the job.
There is like a trend in our country or a fashion among young people, where it seems that you are an artist the more you suffer. As if the suicide that it leaves behind is worth more, or that the most busted is the best. And you have to reveal it, because it may or may not happen. That doesn’t mean his song is better. The same happens with poetry, and one reads them with more passion, but I don’t want to go through those moments. I thank Argentina, our land, for everything that happened to me and what happened to me.
your independent label
Hilda Lizarazzo. Photo: Constance Niskovolos
-Discola, do you wear it proudly or does it tire you out a lot?
I wear it with pride and it makes me tired at times. is in my control Ancient, I never put up posters for my shows, but I made pamphlets and now I have flyers on Instagram. It’s another world, different, with pros and cons. The musical concept is far from it, but it seems to me that everything serves to span a new album or a show.
-But you don’t know about social networks.
-These are the things I want to see from Discola Disco, because it’s important, but it’s not everything. As old as I am, I like to work and put together songs first, take my time, and if I do well at “Like” it’s another thing. You can see how many followers you have, but don’t let that affect your soul. It’s zero poetic, because the estimate you give to a number has nothing to do with a song.
The passage of time is a value and an experience. And it’s okay to play “I’m old.”
-I think the concept of the constant present appeared in the pandemic. The value of time also changed. I don’t say it like the American idiom “time is money,” but as you go through time, you realize it will end at some point. And you have to estimate the elapsed time.
– Is it okay to say that you are in a good moment for many years of show, reaction and call?
-I want more calls (laughs), because I always end up rowing it. That’s why I want to promote the show on Saturday the 14th at Bebop, where I celebrate my 18th birthday playing with Federico Melioli. For the first time at La Veca Profana, Black Amaya, Juan del Barrio and I were on the electric viola. I wanted to play rocker, PJ Harvey! Now I’m stuck with the acoustics.
-Federico will be your first non-personal musical partner. (laughs)
-I played with couples but I also loved musicals without personal projects. Federico is my musical brother. I like to keep him at that place because he is also my friend. We also toured Europe as a pair for three months. It’s like I’ve found balance, because there’s always a fork if you’re in a couple and make music and then you split up and keep making music together.
Hilda Lizarazzo. Photo: Constance Niskovolos
-The album has many interesting sound details and a mix of organic and electronic.
-That’s the Fed, who in these years of the pandemic was learning to deal more with machines and visuals. He loves electronic sounds and can spend hours with it. I’m too motorized and I can’t spend five hours with a mouse. So we’re done with that electropop sound, which is the shape we’ve left in the format we’ve settled on, which is a pair.
—but are they all a pair on the show, or only the ones that are far apart and have to shrink due to cost?
-We are a pair all the time. It went like this… We were a trio, then at one point Samalia appeared and we became a quartet again, and now we are both. We were transforming the sound, and this album is one of the most believable we’ve been sounding. It’s a format that they are enjoying a lot in the interiors of the country, because we are going to play a lot.
Somehow, the first two songs are love songs: “Te reis” and “Canción para singing de a dos”.
I’ve always had a hard time writing love songs because I didn’t want to be happy. And there is that love ambiguity in the subjects where it can be for a man or a woman.
There is also a lot of mention of nature, such as “Bentevo”.
-Yes. There is a search for a place within nature and there is also a mention of the cebo tree. I love playing with it because I am really excited about those things.
– “My Unconditional Friends” has an introduction with the instruments of India.
-Yes. He is my friend of the Indian Beatles. Mario Perkins stars and there’s a Natalia Salgado Taram, who I’m thinking of inviting to September’s Niceto, because I’m already starting to think about the script for the show.
-“Xpuesta” is very electronic and a little bit eighties with lyrics about a photographer.
-It’s for Andy Cherniavsky and that’s why it says “Andy Exposed”. It’s a song tailor-made for a documentary about him that hasn’t come out yet. It’s electronic and eighties, but also very 2022.
– “Voice of the River” guest Leon Giecko? It’s just a stanza, but it looks like them.
Yes, this is Leon. There’s also Juliette Rada at the end, and Tabre Cardozo was going to attend, but it was the whole carnival and he couldn’t. That theme was conceived in Cologne and is more like a love for a river or a horizon. I was embarrassed that Leon sang so little, but he has the voice that is ours which is ideal. I attended his album and that vengeance was a luxury. In addition, there is a leguero bass drum that Lito plays.
– Where did the making of “El Pescador de Bari” come from, which is not your theme?
-This is a traditional cumbia, compiled by the Italian Institute of Cumbia. They are like anthropologists from Cumbia, and from there they communicated in the midst of a pandemic. I sang it and I liked it. The second voice is that of David Toffolo, an Italian, similar to an Indio Solari from Italy, known for the rock group Tre Allegri Ragazzi Morti.
With Hilda Lizzarazzu, Fabian Quintiero, Fernando Samalia, Rosario Ortega, Benito Cerrati and Lito Vitale in tribute to Charlie Garcia at the San Martín Theater last year. photo Rolando Andrade Stracuzzi
-And the ending is “Travellers in Trance”, by Charlie.
-It came out last year on the occasion of Charlie’s 70th birthday, where we played several of his songs. I’ve always loved that song, and Federico approached it from a very faithful place, but with a mid-frontal groove and a sitar voice. It has a transcendental flight, and ends with laughter as if you laughSomething that I love because it gives unity to the album.
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Reference from clarin www.clarin.com