“We are not stumbling or following trends”

The new album from the hybrid formation, “Ordago” (Subterfuge, 26), he adapts under his own intonation the universal tradition of popular song, a journey that visits various latitudes to meet between Anglo-Saxon and Latin horizons.

Although there are many and varied links that can arise between different bands, these have rarely led to the creation of a common offspring, a type of alliance nevertheless assumed by the members of Arizona Baby and Los Coronas in order to conceive a common project that has long ceased to be sporadic, signing a stable career that now offers a new chapter under the title of “Ordago”. A current episode that, despite the logical resistance to immediacy required by the multiple group occupations of its members, has been delayed, as Javier Vielba clarifies, also as a consequence of an artistic search responsible for this delay in the calendar. “In this case, perhaps the conscious demand of wanting to go a step further, to do something that truly represents not only a challenge for us, but also a stimulus for the listener, has weighed.”. A determination transferred to an imaginary that, although “timeless and universal to which labels slip”outlines an album that increases the melodic range, which, as its singer clarifies “It’s nothing new. It’s something fundamental in our music,” and where their rock language is supplied by the electricity that emerged in the nineties, a legacy of generational overtones. “All the members of the group were already making music at that time, we inhabited and created those spaces in first person.” A concurrence of influences, modes and interpretations that, despite designing an identifying sound concept under this current title, appear in the inspirational field of training under instinct and not planning. “Everything emerges naturally, we always try to give the song what we think it asks of us.”

“‘Órdago’ is made one hundred percent by and for human beings. Live it will be even better”

But if there is an ingredient that, perfectly incorporated into that elastic and constantly expanding concept that the project embodies, gives a significant identity to this issued order, it is the appearance of rhythms of Latin descent, a look towards closer coordinates in terms of its geographical location, but with a vocation nonetheless for transcendence. “I agree that we can connect on this album with certain approaches from Gabinete Caligari, Radio Futura or Víctor Abundancia from Los Coyotes, may he rest in peace. But I don’t think it’s something as local as it is global, transatlantic and back and forth.” This is an Iberian range that even supplies itself with those bands that, in the gray sixties, discovered to us what pop meant. “Los Brincos, Los Pekenikes or Modules are true treasures of our music that we always claim with total naturalness. It’s part of our genetics.” Conjugation, and addition, of references that is in no way transmitted in the form of distortion or abrupt turn in the compass. “We all have our particular saints that are part of our essence. We are not stumbling or following trends.”

“Ordago” It is, in its own particular way, a vindication of the popular song, and as such of the force that emerges from it as a narrator of human passions, those that, although their appearance may change, always keep in their condition the allusion to the instincts that have moved the world since it existed. “This is a public album, aimed at the people. Open windows and a look at the horizon.” A dialogue that dispenses with dogmas or established canons, an anarchist consideration of the sound ecosystem that the listener has learned to accept and enjoy. “Our audience today is heterodox because that is how rock and roll has to be: free, mixed race and wild”. In this context, even the reinterpretation of C. Tangana’s well-known song, “You stopped loving me,” acquires a core meaning, a walk through the present in search of his family tree. “This version served as a touchstone that led us to channel the album and its concept. We are more about connecting with traditions than (chasing) following trends.”

Far from being a mere sum of talents, Corizonas It continues adding chromosomes to an identifying DNA that already responds exclusively, if it ever did not, to its group name. “The origin of the band and its trajectory is something quite unique and peculiar in the history of rock in this country, but the fusion of Arizona Baby and Los Coronas and its evolution over time has made the band more than consolidated and has its own entity.”. A bet that they ratify and increase with a work that spreads on the green table a bet made of winning cards convinced of increasing their value after direct contact: “‘Órdago’ is made one hundred percent by and for human beings. Live it will be even better. Let’s go with everything.”