Valladolid, 1986. Monday to Friday Eric Uranus He works at a special education school, but then he becomes the fastest hip hop in here. It is featured in ‘Cubits’, an album produced in association with producer Merca Bey and which would take them to festivals such as Bilbao BBK Live (9 July) or Brillante di Chapinaria (September 18).
- ‘Qubits’ talks about ‘Big Data’ and a technical nightmare, but it’s not really a dystopia.
- Part of the reading of a present that is perhaps a little pessimistic, within the comfort in which we all are, but with hope. i.e. critical, but not doomed or victimised. I am not technophobic at all and I think technology will always give us more than it takes away from us. Like drugs or anything else, it’s a neutral issue that depends entirely on how we use it. The main thing that technology has given us is comfort and progress.
- Are musicians in the hands of tech giants?
- The most toxic thing about streaming platforms is the fatalism they carry us. For an economic question: The more power a multinational company has, the more it will be able to pursue certain subjects for certain lists. This creates a current that everyone passes through, which makes the figures of the same people fatter. Maybe earlier it was just a matter of putting more money into a magazine or promotion on television and now it’s a lot easier to manage all that mess with algorithms.
- In what ways?
- Personally, what bothers me the most is that I open Spotify and it feels like I have endless possibilities and ultimately fatalism leads me to go through practically the same things. And what’s worse is not discovering many new things that I might be missing. Because, ultimately, the algorithm is your excuse to hear what they want you to hear.
- Is this bad for the creative ecosystem?
- An artistic inbreeding has been created which is super dangerous. And in music I see this a lot. For example in urban music people who find themselves with super interesting offers and marginalization are forced to position themselves and do the same standard reggaeton as the rest in order to keep up with their business or with their active professional lives. Huh. It is being made with additional stock of certain styles or artistic currents. And of course, it ends ‘Pindo’.
- Would you say that Rosalia had to give up being herself in order to be successful?
- The identity, the breadth and the depth they leave behind is what is lost. I’m not saying this for him, because maybe he has time to develop it and has more privilege than others in making it. But I see kids of urban music that the only thing that has changed is the factory screws to make the songs, but they end up in the same move upstairs that tells them: “Come on, come on. “. This is how the political situation gets really bad: even if you don’t want to censor yourself, there is self-censorship from the subconscious. And with that the same thing: any route of experimentation or personal exploration is ruled out because you need to be aware of ‘engagement’ and ‘likes’.
- How would you define your attitude towards the subjects of ‘Qubits’?
- My vision is like a haiku or sutra. An economy of language in which, despite the fact that there are many ‘inputs’, everything is more or less kept and it is the receiver who has just stopped drawing.
- How does this economy of language manifest itself?
- I have a very Castilian way of rapping, all in the same consistent tone.
- And in music?
- We have the leg that will be the experimental electronics, which will be deconstructed. But then, with the final packaging, there is a more consistent product, accessible, perhaps not so uncomfortable to hear.
- ‘Fachdolid’: Subject or Reality?
- It has that reactionary touch that deep Castilla, which can’t be missing, but I don’t think it’s more noteworthy than many other places where there are obviously more colorful people on the street, but then again people are just the way they are inside. Grey.
- Perhaps when the slope is favourable, the flame of opposition is lost?
- This can slightly dampen people’s critical spirit and willingness to fire.
- What is the place of politics in your music?
- I have always tried to shy away from pamphlet rolls. There is already a newspaper or newscast or a political party for that. And I’ve always tried to have a kind of zenith vision, different and purposeful. And, finally, my critique of my reality flows through me. It is like extended self-criticism to the society. I have not tried not to indulge in propaganda or have a clear political position.
- How do you see anarchism?
- I am here to make the present better than to change the present in a very imposing way. I have another mindset of amassing reforms and trying to polish and improve what we have, that there is so much more to change. I also don’t believe in the nihilistic view of everything and the board is mine, I turn it over and you have to play as I say.
- What is the place of the individual in the time of collectivization?
- Somehow, the Internet has allowed us to retain that individuality, but at the same time feel part of a collective. Before, a person who closed himself too much as an individual, detached from society, would become too detached from reality. But technology can give you wings to maintain that space of inner freedom, at the same time you can be aware of other groups while maintaining that little plot.
- What artistic footprint has the pandemic left?
- Art has always given me a complete laziness with so much pretense. It became an obligation to make it in a pandemic. And I think that art created under obligation or with any pretense is very likely doomed to failure, far from fulfilling the purposes with which it was born.
- and you? How was it after the pandemic?
- Everything moves so fast in this fluid modernity that what comes before takes the place of the past and practically right now I don’t even feel like going through this whole phase. It’s like things are overlapping. And finally this frantic pace in which we see each other for better and worse, when you’re inside it’s like you’re trapped in that eternity of time. But what will pass for the moment, another event will come, like the third world war and will cancel the previous thing. When you want to make yourself a victim of what has happened to you, something else will come that will move you.
- How has it been growing up in the midst of crises?
- I’m from ’86. I’ve gone through the first phase of brick grandeur: kids my age who were offered to go to work on a construction site at the age of 16 because they were going to earn Rs 1,200. And we may have started with a previous rest, but when that comfort is lost, the host becomes too big. My parents, for example, started out in a more hostile and inhospitable environment, apparently worse than mine, but at least they’ve seen life improve. And the opposite has happened to us: Many grew up with destinations set on goals that seemed to be within reach. And then reality is separating you from them.
- And the next generation?
- Those who caught the 2008 crisis… I don’t know what the hell they can be blamed for, because from the very beginning they have seen their parents in a dire economic situation, in terrible working conditions. Nothing can be blamed on them.
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