A few days ago, we began to discover the surprising new songs of Maria Rodés, in which she was exploring other musical styles and new sounds. Today we bring you the first soundtrack she has just made for “También Esto Pasará”, the latest film by María Ripoll.
Although she had already lent compositions for films (such as, “Me Quedo Contigo” for Nacho García Velilla's “Villaviciosa De Al Lado” or “Ay, Pena, Penita, Pena” and for Jaume Balagueró's “Venus”), this is the first time Maria has the challenge of composing the complete music for a film. And, during the process, the magic soon began: “También Esto Pasará” revolves around grief, and the project came just as our composer was going through one. That feeling is evident in these songs, which connect with the intimacy of a process as unique as saying goodbye to a loved one.
The soundtrack consists of old songs (such as “Prefiero No Decir Nada” and “Se Nos Fue La Luz”, taken from the album “Fuimos Los Dos”, or “Fui A Buscar Al Sol”, included in “Eclíptica”) and new ones (such as “Lo Que Me Pasa” and “Hechizo”, both advance singles of an album to be released after this summer). But above all we find incidental music for the film and new songs made especially for it.
The first ones are notable for their delicacy, constantly evoking the spirit of Erik Satie in his minimalism, searching for those silences that make each note feel like a skin deep. With the help of their usual collaborators, such as Isabelle Laudenbach (guitar), Marta Roma (cello) and Pep Pascual (sax), and the involvement in the production of Simon Smith, compositions such as “Vivir Con Ligereza”, “También Esto Pasará”, “La Casa” or the two parts of “Te Veo Por Todas Partes” succeed in making us see that blurred line between solitude and closeness in which one finds oneself navigating in the usual sound universe of Maria Rodés, both in the instrumental themes and in those with vocals.
The unreleased and new songs for this record require a separate paragraph. Each of them deserves it. The album opener, “Un Amor” (in its introductory version), starts with the melancholy of Edith Piaf and drags that elegant and proud sadness to suddenly dive right into a luminous and lively bossa. It becomes Astrud Gilberto, Rita Lee, Tuca or Wanda Sá and lights up the skies. Just imagining this piece in the film, together with its images, really moves us.
“Senza Di Te” is another incredible surprise. This song evokes the melodic Italian compositions of the eighties with those dark verses and emotional choruses and, of course, it is written and sung in Italian. We think of Mina, Patty Bravo, Gino Paoli and Lucio Dalla.
“Un Amor”, in the credits version, moves away from the initial and revisits the main character in a folk and ranchero spirit. This is more intimate and precious, with majestic arrangements, and serves to close an album that is an intense sentimental journey.
Hay músicos que sacan canciones para que suenen en las radios y para llenar festivales. Otros acometen el proceso creativo como un desafío, como la búsqueda de espacios donde la comunicación con sus oyentes sea especial y única. Maria Rodés lleva años demostrando su versatilidad, su capacidad expresiva y compositiva y su ambición a la hora de abordar proyectos distintos y desafiantes. Cada vez que nos envía uno de sus mensajes sentimos que el mundo es un poco mejor. Por siempre, Maria Rodés.
There are musicians who release songs to be played on the radio and to fill festivals. Others undertake the creative process as a challenge, as a search for spaces where communication with their listeners is special and unique. Maria Rodés has been demonstrating for years her versatility, her expressive and compositional capacity and her ambition when it comes to tackling different and challenging projects. Every time she sends us one of her messages, we feel that the world is a little better. Maria Rodés forever!
![También Esto Pasará [Original Motion Picture Soundtrack]](/images/disco/er-1302presaveweb.jpg?d=520x520)
