How “Balorda Nostalgia” was born: word to jvli

Jvli, Julien Boverood art rules, producer, author and musician born in ’98 Originally from Aosta, but grown artistically in Turin, a “Music tailor”. It has an artisan and true approach to art, far from industrial. His productions and how he works on songs are magical tailor -made clothes. One of these, in particular, has become the most sparkling dress of this last period: it is “Balorda Nostalgia”, a song with which Olly triumphed in Sanremo and of which Jvli is co-author and producer together with Pierfrancesco Pasini. The partnership with the Genoese singer -songwriter begins to take shape five years ago and intensifies through the processing of albums such as “The world turns”published in 2022, with the participation for the first time in Sanremo with “dust” in 2023, up to “All life” of 2024, the second Olly project. But it is not over: in 2024 Jvli, always at the Sanremo Festival, is the author, arranger and producer of the songs “Apnea” by Emma and “The sky does not take”, played by Fred De Palma. He is also among the composers and producers of the single multiplatin “The last poem” of Last and Geolier, moreover, always last year, publishes the single “I want you” with Emma and Olly. It is becoming one of the most popular figures and requests on the Italian music scene And with the latter triumph at the Festival he definitively put his wings.

Jvli, when was “Balorda nostalgia” born?
Last September 13th. I found a vocal note that proves it. When I am in the studio I always leave the phone recorder on so as not to miss anything. I was in the studio with Pierfrancesco Pasini, a keyboard player with whom we go on tour. A tour of agreements was born between me and he, then Federico, who arrived in the afternoon, started working on the melodies. It was all spontaneous, the piece follows exactly the sound of the album “all life” that would have come out shortly thereafter. We never thought: “Now let’s make a song for Sanremo”.

Also because Olly did not want to participate.
Yes, exactly. Federico was against it. We had already been with “dust” in 2023. He wanted to focus on something else. I was the one who tells him: let’s think about it calmly. I really took the task of chatting with faith and making him understand that he could be a great opportunity, an opportunity not to be missed. Above all because the piece was and is the son of the whole path we are taking. We went to Sanremo with a totally ours song.

Now that you have won it, what feelings do you feel?
Sometimes we remain silent and look at each other. We still don’t understand what happened. We are happy, but I think we will be even more once processed with lucidity everything.

Is it true that the “Balorda” was suggested by you?
Yes, it had to be “bastard nostalgia”. Faith has a particular way of writing, with terms that distinguish him, with terms used by him, by our friends. “Balorda” is more part of his way of speaking and has a very Ligurian mood. When I told him, he returned to him that his grandmother also used that “fool”. And the circle closed.

You are not only composer, but also author. Write together?
Everything is born together, I can suggest words or ideas, but the writing, in its entirety, is more obviously his. I do an example: “For two like us”, the piece then in collaboration with Angelina Mango, came to life on the sofa: I was the one who told him the end of my relationship after five years. I explained to him what I lived and he wrote a song. The reverse process also happens with faith that advises me with an agreement or detachment. After several hours together it also happens that he goes home and works on the text while I in the studio finishes the music.

How would you define your role in essence?
I am a tailor of music, I want to create the tailor -made dress for the artist with whom I work.

Are you also open to other interventions?
Absolutely yes. In our songs, several musicians have worked on important ideas. It is essential not to distort yourself, to remain what you are. And this I think it is one of the reasons why we won the Sanremo Festival.

Your first songs were very different: you played with electronics and the tip. Then came the turning point, with the road of a more melodic songwriter. What happened?
I do not know. I ask myself. The change was drastic, more in music than in the texts. I give you an example: “The soul dances”, with which we went to Sanremo Giovani, has a crazy text. Federico was already deep then in that song, but the production dominated him and the public gave more attention to the sound than to the words. That type of sound was linked to a need for movement, physicality and dance on stage. He was linked to the desire to “party”. He helped us grow, but then he actually came more. It came without telling it, without planning it. The new approach immediately linked to the idea of ​​singing these songs, guitar and voice, with our friends …

Were they almost hymns?
Yes. One of the most beautiful messages I received was: “Sing your love songs as if you were drunk in the chain” (South Rasta, Olly and Jvli are fans of Sampdoria, ed.). This is the most beautiful compliment and tells our music today, as we share it with our friends and our audience.

When did the transformation take place?
I believe that songs like “thank goodness there is the sea” and “white” have made us feel at ease and convinced that that was the right path.

Will we see a producer album signed by JVli?
I have never appreciated the producers’ records, except those of Mace. They always seemed to me about the playlists. Making a producer album is complicated, it is a difficult step because you have to create a real, recognizable journey. If it arrives, it arrives, but it must be naturally, I don’t want to look for it. “I want you” with Emma and Olly signed by me was a piece of closing of a circle, of a certain way of playing with music. With Olly we had worked on several pieces in the tip, with Emma it was new. For me that song was the photograph of a moment.

Will you participate in Eurovision?
It is a choice of faith. I remain behind the scenes. He has to decide. The big problem concerns the many dates already scheduled in the club in conjunction, in May, with the Eurovision. At the moment my vision is that the mental health of faith should be kept, understanding the feasibility or not of such a commitment well because moving all those dates is not simple, I don’t even know if you can succeed. But those concerts demonstrate one thing …

What?
That he did not prevent to win Sanremo even remotely, otherwise we would never have placed the tour in that month.