Was there any obsession, fixed idea, or image that guided the creative process of the album, even if it is not evident to the listener?
There was the idea of letting go of certain things and emptying my backpack in order to feel free again, and to search for the greatest possible purity and simplicity. I wanted the process to be as human and organic an experience as possible, something that could connect me with nature.
Another premise was the aerial question. The songs had to be so light that they could lift off the ground. This idea helped both Jordi Matas, the album’s co-producer, and me find the overall tone.
What was the process of deciding which songs would and wouldn't be part of the album?
I usually don’t discard any songs, but this time there was one that didn’t make it onto the album. When listening to the whole record, I realized it disrupted the balance between light and darkness. Another reason is that I usually press my vinyl records at 45 RPM to achieve the highest possible sound quality, and in order to do that the album cannot exceed 27 minutes. Another important detail is that side A and side B have to last almost exactly the same amount of time. Once that song was removed, everything fell into place—but I’ll soon find a home for it.
What changed in the way of writing, recording, or producing on this album compared to previous recordings?
For several years I had been thinking about my songs within cave pop, with a classic lineup of bass, guitars, and drums. I love that formula—it has given me great results and allowed me to perform on all kinds of stages—but I think it had reached a dead end. When you find something that works, it’s very hard to know when the moment has come to let it go in order to move forward.
My previous album Plora Aquí is the result of that internal struggle, and with Aniversari Feliç I managed to find myself again. In this case, rather than a change, it was a reset—a purification. I didn’t want to disguise myself as anything; I wanted to be myself and feel fully represented by what I sing. It was also about reconsidering what space I want to occupy now in the social and cultural context. Sometimes you have to look back in order to find the answer that leads you to the next step.
Were there any songs that were particularly difficult to finish or let go of? Why?
I knew I was doing what I needed to do because that never happened at any point. The entire recording flowed as if every gesture we made had already been predetermined. I think it has been one of the most peaceful recordings of my life. Every stage of the album—mixing, design, and videos—felt completely natural.
A large part of that was possible thanks to Jordi Matas and Louise Sansom, my main accomplices in this new stage. Bringing the songs to the live stage alongside Bruna González (cello), Marcel.lí Bayer (flute), and Jordi Matas (guitar) has been so beautiful and so easy that I still can’t quite believe it. The presentation at the Auditori de Barcelona was an otherworldly experience. It had been a long time since I had felt like that. I feel this album has been touched by angels.
What role did intuition and error play during the process?
Para mí la intuición lo es todo. Es de donde sale todo. Digamos que es una pequeña voz que no sabemos de dónde sale y que nos da pistas de cuál es el buen camino. ¿Puede ser más mágico? Yo creo que no. Al error simplemente no hay que tenerle miedo.
Was the order of the songs intended as a narrative? How was the order decided?
No hay nada de narrativo en mi música, así que es un tema que no me preocupa demasiado. Lo importante para mí es la atmósfera y el viaje. Busco las sensaciones del estómago y el corazón y que muchas veces no sabemos ni describir, más allá de que se llegue a entender de lo que hablan las canciones o de que al juntarlas se cree algún tipo de narrativa. Eso sería demasiado cerebral o premeditado. Me encanta que las cosas simplemente sucedan.
Which composers, musicians, bands, producers, and studios would you like to collaborate with in the future?
Right now I’m not sure how to answer that. The truth is that when I really like something, I inevitably end up moving closer to it. That’s the case with Mar Pujol , whom I deeply admire and who I think is one of the most incredible artists this country has produced. Recently I managed to record a song with her, Enguany, which is part of a very beautiful project called Les Flors Prohibides: a collective album curated by Hidden Track Records, filled with beautiful songs to raise funds for the NGO War Child.
Catalan musician and composer who lives in the foothills of Montserrat with his family. Since 2012, he has built an impressive body of work that has made him one of the leading figures of the Catalan independent music scene.