Tilde: Additional notes when listening to Algae

An interview with Tilde

 

How has the composition process of Algae been?

MATI PANDO – I usually take the ideas worked on in the form of lyrics and melody.

CARLOS SÁNCHEZ -Mati is not very fond of making choruses, so the discourse of the theme… You have to turn that idea, which was an incipient idea about a melody, into a song. Then you have to listen to a lot of what happens to know where you want to go, because you don’t have a chorus that says ‘OK, let’s go here’ and then the chorus ends I’m going to… No, it depends on what’s happening and it takes you to one place or another.

CARLA SUZART – Searching, experiencing, form, thing, sonorities, tonalities, rhythms and understanding, feeling, what was the best thing for this song. What it asks for.

MARIO VÉLEZ -On metrics we never worry about saying ‘come on, this song is going to be 3/4, this song is going to be 5/4’. No, we simply develop the song and what is best for it.

CARLA SUZART – I think the lyrics were directing us a little bit to explore different regions and different tonalities and different metrics. We tried different metrics within the same song and also on the record, in the overall picture there is a rhythmic diversity, a timbre diversity, a tonal diversity.

CARLOS SÁNCHEZ -The melody of all this is what drives us to make the songs. What often happens is that Mati is in a… he stays in a melodic motif and, meanwhile, the harmony moves. Therefore that melody works differently in one chord than in another. And this happens quite a lot on the record.

MATI PANDO -Harmonies are full of colour and full of nuances and full of… well… They take you to many places with harmonies.

CARLA SUZART – We tried and tried and tried every piece of the song, every part ‘And that, what do we do? Well we can change here because this calls for a change. The lyrics talk about that so we can make a turn here to get closer to what the lyrics say. How can we do that? Come on, an atmosphere more like this, more like that’. So it was a very detailed work.

CARLOS SÁNCHEZ – There are chords with tensions, quatrains, there are things… It’s not a group of… There are harmonic subtleties, let’s say. And also, another thing that I personally like about Tilde, is that there are also atmospheric moments that we could harmoniously call ‘manners’, which have colours. Technically speaking, I really like the Dorian mode which, well, is a minor but has a sixth major and that generates an atmosphere and some colours.

MATI PANDO – For me they are like a journey because they have like their landscapes, like colours. The harmonies give a lot of colours, a lot of richness there and also the stories are very intimate or very rooted. Very winged and very rooted.

What does the title of the album respond to?

MARIO VÉLEZ -The title of the album, ‘Algae’, basically is that in almost all our discography nature is quite inside and, in this album especially, the sea is quite present. So, among the elements of the sea we finally found ‘Algae’. The seaweed is a curious element since it seems something simple even that… it is not that it is despised but that it does not have much value and within the marine world it is fundamental.

MATI PANDO – This album has a lot of sea, the sea appears a lot in many songs on this album.

CARLA SUZART -The feeling that there is a lot of water was unanimous. The sea is very present there, very strong.

How were the recording and mixing?

CARLOS SÁNCHEZ – We were very clear that we wanted to record all of them together, live.

CARLA SUZART -We recorded at the Hukot Studio with Milo. Milo is a love, it’s been incredible for us to record. We went to the studio for a whole week.

CARLOS SÁNCHEZ -In this case the production starts in the studio.

CARLA SUZART -We had rehearsed so much, we had played so many songs that in one day we recorded them all, the bases.

MARIO VÉLEZ -It was recorded by Milo. It was mixed by Carles, the guitarist, who has a very clear idea of the sound the record needed.

CARLOS SÁNCHEZ – I ended up mixing it myself because I already came with that work done. I was very clear about how I wanted things to sound, which was how Tilde sounded.

How do you recommend listening to Algae?

MATI PANDO – I think that Tilde’s album should be listened to several times because it is an album that has many nuances, many details, a lot of dynamics.

CARLOS SÁNCHEZ -You need to listen to it several times and, for example, if you are prejudiced against flamenco sounds, maybe the first time you listen to it you don’t. But maybe you do fall in love after… it opens you up even to that kind of sonority.

CARLA SUZART – I think that there are multiple auditions of the album so that you can capture the sensitivity in the details.

CARLOS SÁNCHEZ – It’s great that it’s not accessible on the first listening because, at least for me, when a record enters my head, I usually burn it very quickly.

MARIO VÉLEZ – I think it’s an accessible record, within its limits. Man, you have to listen to it. They are long, dense songs, many changes, little chorus… but I believe that it is accessible because, as much the melodies of Mati as the harmonies of the guitar and the bass or the rhythms, let breathe much each part. It’s not that it’s crazy about changes, but each part has its own space and I think it’s quite well conducted and pleasant. It’s not super weird.

CARLOS SÁNCHEZ -In the end, yes. With the elements that you have, you do what you can do aspiring to the best, that’s how it’s been.

CARLA SUZART -I wish everyone an excellent listening.