One of the best things about running this blog is meeting people from all over the world with completely different musical influences, styles and tastes. Today we’ve got something a little different, both stylistically and culturally, with Argentinian singer/songwriter Ezequiel Cagnoli.
We took a listen to his song Boomerang, which is the opening track from last year’s EP No Se Puede Vivir de la Idea de Vivir. The track opens up with cool “nah nah nah” vocals over stabbing guitars, then a triangle hit brings in an engaging verse of Spanish vocals, and my Spanish is not the best so I’ll leave the explanation to Ezequiel – just read the interview below.
It drops into a chorus of drawn-out cries of “Boomerang” answered by faster vocals, then the opening “nah nah nah” returns. There’s a brief pause, then it gradually builds up to the edgy chorus again. Check it out in the stream below:
We had a chat with Ezequiel to find more about his musical influences, what he writes about, and find out what’s going on in the Argentinian music scene…
GR: Who is Ezequiel Cagnoli? And where are you from?
EC: “I’m a music enthusiastic, I’m from Argentina, Buenos Aires and a father of a 4-year-old child. I work as a system analyst and in my spare time I make music as a therapy, basically to express things that bother me.”
GR: You just released Boomerang. What should people be expecting from the song? What inspired you to write it?
EC: “I released this song late last year, and I think you should expect a catchy introduction with meaningful lyrics. What inspired me? Well, I think it’s a mixture of things, but in particular, those people who do bad things to other people, or treat others as trash as if they were superior, and who do not realize that in the end we are all human beings.
“Many times you can meet people like these in life, in a job, in a bar, when you are studying … but I think that everything you do, returns to you, bad and good things, as a Boomerang.”
GR: How would you describe your music and sound to people that haven’t listened to you yet?
EC: “That’s a very good question that I couldn’t answer to myself yet! But I could say that, from the songs, they can expect catchy chorus with very deep lyrics that speak of real-life situations and that are complemented by the cover arts to close the message or meaning. In relation to sound, I do not have a particular parameter, I simply go where the subject is taking me, many times adding sounds of objects from everyday life, or, as a fan of film scoring, orchestral instruments.”
GR: What influences you to write music? Any key themes or topics that you write about?
EC: “Everything around me, everything that touches my soul. In Schadenfreude – which means rejoice in the misfortune of others in German – for example, I speak about how society is divided for some reason, be it political, economic or social, while a few are the beneficiaries.
“In Viejo Sabio I wrote the teachings that a friend who was born with a terminal disease left with me. In other songs I wrote about gender violence, family, heartbreak, about thinking a lot, loneliness, when it’s your turn to accompany someone who is lost in drugs, to people who treat other people badly.”
GR: Which bands/musicians are/have been your strongest musical influences?
EC: “I usually listen to music from all over the world, so one can also discover new instruments. But if I had to choose, my three main bands would be Radiohead, Red Hot Chili Peppers and Foo Fighters.
“Here an interesting chapter opens because it is much more difficult to compose melodies in Spanish than in English, which contains many more vowels and you can make more floating melodies than in Spanish. That’s why, when creating melodies in Spanish, I believe you have to think a lot and play with words’ accents.
“If I had to choose Argentine musicians that I believe broke that barrier between Spanish and English language, I would choose Lisandro Aristimuño and Gustavo Cerati. Speaking about sounds, I love the sound of the ‘NPR Tiny Desk concerts’ and one of my dreams would be to play in one of those concerts.”
GR: It’s interesting that you mention Argentinian musicians, as we’ve never written about any Argentinian bands before! What’s the current Argentinian music scene like? How much support is there for new Argentinian bands/musicians?
EC: “There are spaces for all kinds of levels in music, there are places to start generating spaces and show what you do. For example, in cultural centers or band events that you can be invited to play, although it is almost fundamental to have a presence in the social networks.
“Rock today (the mainstream) is feminine, there is a lot of environmental indie, and a lot of cultural exchange with Uruguayan music. Anyway, as always, there are lots of places where you still have to pay to play.”
GR: What have you got coming up through the rest of 2019?
EC: “I’m preparing a lot of things with my producer Gery Strobl. In June, I released a song about family violence and gender called Barreras, and we are preparing four more singles, an EP with four songs and, when I have time, I’m working on an instrumental album with guitars, effects, songs for piano etc…
“After releasing the four new singles, the idea is to start playing again, but in an acoustic set with two guitars, one piano, percussion, bass and maybe a violin. Having a family and a main job makes you have very little time for music, so you have to be very organized to achieve any goal.”
GR: Anything else you’d like people to know about you/your music?
EC: “I hope they can enjoy my music as I enjoy making it!!”