Juana Molina on Loops, Composition and Creativity | Red Bull Music Academy 

► Read more here... www.redbullmusicacademy.com/lectures/juana-molina-lecture

"Como Alicia al otro lado del estudio" hermosa Juana🌈

Me identifico tanto con Juana. Por años también sentí que necesitaba una máquina que siguiera reproduciendo lo que tocaba, hasta que encontré la loop station Boss RC-30, me enamoré y la compré hace un mes. Aunque ya conocía la música de Juana, justo hace un par de días descubrí que usa dos pedales Boss RC-30 y volví a este vídeo ❤️

Que grande Juana se la hizo sola la entrevista

Tomen agua o un buen vino para ser como juana. Tomen red bull para ser como el entrevistador que se parece a mi cuando tenia que dar una clase y parecia que me estaba dando un acv.😀

Juana, amo tus caminos!!!!!!!

Red Bull Music Juana Molina Session: Buenos Aires 2017 Juana Molina first achieved fame in early ’90s Argentina with her sketch comedy show Juana Y Sus Hermanas. Despite this success, she left acting behind for music, releasing her debut album Rara in 1996. The daughter of actress Chunchuna Villafañe and renowned tango guitarist Horacio Molina, Juana moved to Los Angeles shortly after her career change. There she began to experiment with electronic instruments, incorporating them alongside her voice and guitar. 20 years and five albums later, Juana has become one of the most celebrated experimental musicians in Argentina, with fans both at home and abroad - including David Byrne who, after discovering her second album, invited her to open his American tour. At this public conversation in Buenos Aires, Molina talked about recording at home, discovering loop stations and her artistic philosophy. Hosted by Tito del Aguila Transcript: TITO DEL AGUILA Hello. Good evening. We are on the Red Bull Music Academy lecture couch. JUANA MOLINA What’s the lesson about? TITO DEL AGUILA This night we will share with you, in this great place, a talk, a conversation, with a singer, a songwriter, an actress who has conquered the world from here, perhaps quietly and secretly. This round of applause is for Juana Molina. JUANA MOLINA Thank you very much. TITO DEL AGUILA Great. The album [listening] will come almost at the end. I wonder if you saw some of the... [gestures to video screen] JUANA MOLINA It’s no longer there! TITO DEL AGUILA I know. That’s odd. Then we can move on. I wanted to ask about the specifics of recording Halo. It was not recorded where you usually record your albums. JUANA MOLINA Yes, it was after a year and a half I spent working at home with many technical problems, which Odín Schwartz helped me to fix. He solved many problems that came through. It was his idea to go record in a studio. “Come on, Juana, cut the crap, let’s go to a studio.” And I was like, “No, I like it here at home.” “Come on, let’s go to a studio.” So, things went on gradually... [brief applause] That was Odín applauding himself. So, at first I resisted the idea, because I’m used to working alone and entering some kind of tunnel, where I am some kind of guide and tourist of what is happening. Then I couldn’t get there, because every time I entered the tunnel something would break or... enough! So we went to the studio. Finally one day, testing some guitar gear at Eduardo Bergallo’s studio, we were playing really loud and I said, “Wouldn’t it be great if you could play this way?” So Bergallo and Odín simultaneously said, “Let’s go to a studio!” So the deal was, I asked him to call Sonic Ranch, which was the place he proposed. I said, “OK, call and check if it’s possible.” And it was, so I decided to go into that terrifying experience of recording with other people next to me. TITO DEL AGUILA We should tell our friends here that your studio is quite... JUANA MOLINA Unequipped. TITO DEL AGUILA Unequipped and isolated. You live in the suburbs. Your studio is actually in the center of your house, among your plants, so it was a change also in this regard. JUANA MOLINA We were surrounded by nature there too, a different kind of nature, which was a torrid desert. Skin, hair, everything gets really bad. After some days there you dream of bathtubs filled with oil. “Please, someone moisturize me.” But, beyond that, the studio was amazing, because we had it just for us. It was not from 8 AM to 2 PM. The door was opened, we stayed as much as we wanted, and the variety of instruments they offered was huge. We couldn’t get to try them all because it would have taken all three weeks. So during the first days we chose equipment, we chose the stuff we would work with. It was a bit hard for me at first - assistants were checking their mobiles and I thought, “Why do I need people here while I try to come up with an idea?” Finally I managed to withdraw from it all and started to enter the “studio” mode, which is completely different, and something different happened. Instead of going deep into the ideas that came up, I spread to the sides. I got a whole range of new ideas, in which I did not deepen, but I managed to store. We stored many timbres, new sounds, ideas... we recorded non-stop. We sometimes recorded a song for 40 minutes, so it was hard to edit it later, because you need to edit several 40-minute tracks then figure it out. It was a different experience, but I’m glad I did it, so I’m thankful for their idea. TITO DEL AGUILA And for their persistence, right? JUANA MOLINA Yes. TITO DEL AGUILA And the process at the studio, preceded by the usual writing process at home, required long working days? What time do you feel is your best to work? JUANA MOLINA At home? TITO DEL AGUILA Yes, at home. JUANA MOLINA When night falls. Something happens at night. It’s quiet. Birds go to sleep, so I don’t have birds singing in every song. TITO DEL AGUILA How about dogs? JUANA MOLINA There are fewer dogs too. There’s less of everything, so it works better for me. It works better for me acoustically and there’s also that quiet... well, it’s the night. The night atmosphere is different. Later on, once I’ve made progress in the process, I can work at any time. I’m really involved and hardly notice the time at all. But for the writing moment I like everyone to be asleep, that dreamlike thing, which is also the state I like to reach. TITO DEL AGUILA I think we all know that dreamlike state by sharing your music. What is it like being in the studio and holding that feeling you’ve been working with? Is it like daydreaming? Is it much more mechanical? JUANA MOLINA I always try to describe it in a different way, and the conclusion is quite the same, which is when I’m starting it’s like this here [points to CDJ decks on the table] with this play/pause button, tempo, on/off, fader, screen, whatever. Then as I go deeper, there’s suddenly a “bloop” - and I step like Alice through the studio. Then the abstract side of music appears. Although I am playing and I’m using equipment, it all disappears and images appear. The place is always quite dark. Some kind of shadows. That’s what I see, together with some doodles. And as I play, those doodles happen and I follow them. That’s why I talked about being guide and tourist. Because I’m playing it, but I feel I’m following the sound. I’m following orders from the sound. That’s why working at Sonic Ranch was so great. The textures that appeared there would not have appeared elsewhere. So, with new instruments, new ideas and arrangements, new album, all different. TITO DEL AGUILA Was there any instrument that fascinated you so much you wish you could take it? JUANA MOLINA Sure. That’s my usual mistake - wanting something and not doing it. That’s classic me. I wanted a Moog Prodigy, that was really [sings] “So, this love was born...” Really. It was something... “I love you.” “Me too,” it said. It loved me too, I know it did. TITO DEL AGUILA It was mutual. JUANA MOLINA It was beautiful. TITO DEL AGUILA We will listen to it. JUANA MOLINA So I quickly looked and there was one on sale. And I didn’t buy it! I didn’t buy it! Then Ernesto Romeo, who knows all about these things, told me, “If you had bought it, it would not have been the same. Because these are brothers. Watch out! It will be similar. It’ll be a relative. But it won’t be the same.” I think it’d have been quite good anyway. I feel really attracted to everything that produces bass sounds. And I strongly reject everything that produces treble sounds. So the mixing process is difficult, [makes incomprehensible bass gurgling sounds], because I can understand this sound but people cannot. Because it’s this, and another conversation like this one, and so on.

Me gustó eso de la timidez es la otra cara de la vanidad, ta lindo ta lindo. ♥

Gran entrevista por parte de Juana, lástima que el entrevistador estaba medio perdido

Super Talento Argentino hyper ultra originalísima, única, espléndida. Robêrt Älmâr .

Hermoso escucharte, Juana!

qué genial la imitación de Robert Fripp jajajaja, grande Juana Molina!!!!

Enorme Juana Molina..

LARKS TONGUES IN ASPIC ❤ ❤ ❤ ❤

Que criticones con la entrevista, estuvo todo genial y pudimos saber mucho más de Juana y el proceso de creación. Tienen los medios a un click y todavía se quejan, hace años era impensable todo esto, disfrútenlo sin lloriquear.

que bajón el entrevistador, tan pendiente de que la cosa funcione pero perdiéndose la magia de Juana, que igual hizo de la entrevista tremenda genialidad porque es ella

En Glastonbury empezaste con cuatro y terminaste con un mundo de gente bailando, Juana. Hay que hacer lo que uno sabe hacer, te miren o no.

es de otro planeta poodria eatar años escuchandola hablar y tocar

Juana tiene el mejor gusto :D ♥ King Crimson a los 12! La amo! ♡

Uuuh qué genial esto lpm, en seguida lo veo.

GENIA

Juana Juana Juana Juana Juana 💕

👏👏👏

Role model 🤩

Acá tenés a Larks Tongues un Aspic de King Crimson full album. Y hay más versiones , y por partes. ru-vid.com/group/PL3PhWT10BW3WPeJYx3Zt4PsvoKImmzOwE

Me dieron ganas de comprar el vinil de KC para escuchar a la mujer en la ventana :)

que onda el entrevistador? está en cualquiera, no hila bien las frases. Red Bull media pila.

Podria escucharla hablar por horas

Bri llannnnn te Genial

como que me perdio,pero la entendí tanto ...es eso de querer conformar a todes ...es supertalentosa imprevisible,y lo mas importante provocativa....me encantó ...

estoy muy enamorado de juana molina

na na na grosaaaaa

Fripp lo usa desde los 70 !!

Cuando ella habla de que veía dibujitos mientras hacía música, y más que crearla, ella sigue la música, ¿no será sinestésica?

Closed captions?

El entrevistador como que no cierra las preguntas concretamente

Que mala la traducción. The subtitles are horribly translated. Skips important comments.

Jajaja aguante ruth

Me copa Juana haciendo humor una genia mucho talento. en la música solo hace cosas snobs para que los chetos con un corcho en la oreja le depositen dinero.

nono el chiste del gato aJASDJAS

No les digan"lectura". Usen bien el español.

Yo creo que Juana debería ser un poco más agradecida con Santaolalla. Rara me sigue pareciendo un disco impresionante, y la producción me parece impecable. Quizá gustavo supo que le iba a costar mucho insertarse en la industria si su primer trabajo era muy ajeno a lo que sonaba en esa época. Qué sé yo, por ahí habrá algún rencor en el medio, pero me chocó la forma en que se refirió a él.

Quien entrevista pésimo. Leyó todo 1 hora antes. Juana es muy grosa para que la entreviste un gil como este.

se enota que no les gusta la musica