Alba Reche: “Everyday life is also artistic and much more beautiful: the everyday surpasses the superfluous” | Music

the first time i heard That was me too (I want to remember) My hair stood on end and I was invaded by a nostalgia of those that take hours to get rid of. The song of Alba Rechehis second single ahead of the release of a small EP that will arrive in the fall, He appeared halfway between confession and story to open up to his fans and share for the first time a facet that we had not seen until now: the most personal and at the same time the most vulnerable, the one that shows the nooks and crannies of people who once come to light do not allow us to turn back, but when shared they generate empathy and identification, and feel like a hug.

Of the story of a failed love, of a situation that makes it difficult for us to recognize ourselves in the mirror and a trauma that blurs our memories Alba Reche speaks in That was me too (I want to remember). The singer has also passed through the offices of LOS40 to grant us an interview that is divided into two parts.

In this first one we talk about the launch of the song, about the vertigo caused by opening the channel in this way, about the creation of his most personal project to date, of mental health and artistic vindication and the value of everyday life when launching a musical project for the world to listen to.

It’s been a few days since the release of that was me too (I want to remember). How do you feel?

Well, the truth is that very calm, much more compared to when it came out. The truth is that when she was staying for like an hour or so she was hysterical, she was really hysterical. I think it’s one of the songs I’ve gotten the most nervous about, but right now I’m super good, super calm with the reception and how people have received it.

Has writing this song been therapeutic?

In a way yes and in a way no. Therapeutic in the sense that it had to be released in some way, but I have also had the other sensation and the opposite feeling: of putting in front of you all those things that might be more difficult to hear about yourself. So I think it’s been like both feelings, both emotions.

There are some statements of yours collected in the press release of the single where you comment that one of the most complicated things was that, once recorded, you had to decide if the song came out or not. What clicked so you dared to throw it?

I think I had several conversations with my team, both in terms of production and at the record level; and this was really going to be the outro on the EP coming up in the fall. So, releasing it as a single also seemed like giving it a very, very heavy importance, because I also consider it more of a story than a song… I was talking about it with Marcos and he told me “aunt, maybe people just need it listen to it, just like you have needed to listen to other songs” and it was like “don’t be so afraid and respectful because maybe people also need to listen to those kinds of songs”. And I think that was the click.

You also commented on Instagram Stories that you were looking for people to make it theirs beyond the confession you make…

Yes, I think that the beautiful thing is being able to empathize with some of the parties and see yourself reflected in them and know that you can talk about it. It’s quite important actually, being able to listen to a song and say “holy shit, this has happened to me too” even if only partially, and I also see myself reflected and I can expose it, I can start writing about this experience, and start doing Public these kinds of things.

There is a phrase from your song that I find devastating and that at the same time generates a lot of empathy “it cost me a lot to love myself, even if I was right”. In addition, you have always been a clear defender of the right to mental health. At what point are you now?

The truth is that I have been in a very good moment for a long time. Since I wrote the song or even before… I think that to write the song I went back to some nooks and crannies that I hadn’t visited in a long time, so I think that in my day-to-day life right now I’m at a totally different point, but it is true that there are moments when you disassociate, when you say “Wow, I’m not at all present in what I’m living”.



Alba Reche on the roof of LOS40 / Natalia Casado Camacho / LOS40

And many times I think that the part of the song about “it cost me a lot to love myself, even if I was right” refers to the fact that many times, even if everything you do is logical, you can’t feel good about yourself and you don’t know why. . I think it exposes that moment of “it doesn’t matter what I do because nothing is going to look good to me”.

But I think that right now I’m at another point much happier and much more abstracted although sometimes I visit those nooks and crannies.

Both this video clip and the one from don’t change your walk They have been directed by Martina Hache, and in your social networks you refer to her as a great friend. How did this collaboration between the two come about? How do you know each other?

We met almost two years ago, and I had followed his work for many years, when I started college I already followed him on my other account. And we began to become friends and we had not had the opportunity to reconsider a joint work. So, it really was super natural. She tells him “aunt, do you want to make a video clip?” and she told me “yes” and she’s done [risas]It wasn’t much more either.

We went to his house for coffee and stayed all afternoon. She took out a blackboard that she has to write things down and we began to write down ideas for the two video clips. it really was super easy say: “how do you imagine this part? what do you like? what references do you have?” And we had a conversation in which we came to the conclusion that we wanted to do the two video clips together.

But they weren’t recorded at the same time, I understand.

No, they weren’t recorded at the same time, not at all. was recorded first Don’t change your walk Which was early February, if I remember correctly. And then this was not so long ago, before Mexico, like three weeks or two before Mexico.

In the video clip there is hardly any staging because it seems that what this confession asks for is a spotlight and a black background. Was it your idea from the beginning to tell this story with as few props as possible to convey the message?

Yes, I think we never took into account the action of putting many accessories in this video clip. From the beginning I had the idea of ​​saying: “The song already says a lot of things, it is constant information”, not so much a musical one, but a message. I think the lyrics are very important in this song and it was like “everything we put on beads that can distract in the video is not going to give you attention to listen to it itself”. The video is more of an accompaniment this time than a main focus.

And then, I think it also had a lot to do with the fact that there are several simple shots, so to speak, because it’s like talking to the voices in your head in a certain way, in which you appear and remember yourself during the song. And when you are in your head you are alone, you don’t need more things either. I don’t know how you imagine your head but I don’t imagine it empty but neither with too many beads, so to speak [risas]. So I think it made sense. From the beginning I imagined it that way and it had to be that way.

The idea of ​​the different voices in your head then is the one behind the cover, right?

Of course. The fact of attending to all those dissociations that you have had and realizing all those parts that you have really lived, although sometimes you do not remember or although sometimes you do not feel so related to them. But they also belong to you and who you are now.

The cover really is a photo with the long ISO, so that it picks up a single movement. It was nice because you didn’t have to put things together, just the technique to say “this is what it is and that’s how it stays”.

In don’t change your walk we see the women of your family: your sister, your mother, your grandmother… and we also see you performing actions of everyday life. Were you looking to convey this more personal facet with this project?

Totally, I think it’s the most honest part now of all the work I’ve done. It is true that when you make them you grow with them, right? And now I look back and see Chimera all full of flourishes and a lot of very baroque things; and now I was at a totally different point where I wanted to sit down and have a coffee and just like I talk to someone, I wanted to sing to someone. And not just sing to someone but sing and write to myself from the sofa at home.



Alba Reche on the roof of LOS40 / Natalia Casado Camacho / LOS40

The songs at the end are made in my bed, in the studio with my colleagues, who in the end are also my friends, with whom I work, and it was like “I think that the day to day also has something artistic and is much more beautiful : the everyday to the superfluous that can surround all those things that are overworked”. So I wanted to work on that moment of coffee, bed and day to day. Because in the end it’s what happens when I listen to music and when I do it.

Do you have more freedom now when it comes to creating, composing, directing your projects than when you started?

I don’t have any more, I have the same one and I think that now I am simply more aware of absolutely everything, so I think that the learning process is like when you are in an internship: you come and at the beginning you ask questions and let yourself be guided because they are accompanying you; and the truth is that I am very well accompanied by the team I have and it has always been a fairly easy conversation. I don’t think it sticks to me being directed [risas]. So I’m pretty happy with that and how it’s always been.

What remains of the Alba Reche that came out of Operación Triunfo almost four years ago? Is it difficult for you to recognize yourself?

I think we all have loopholes and we all have things that have made us who we are. I’m going to refer to the title of the song and I’m going to say that “that was me too” so, how can I deny myself existence. Of course there are things, simply that we are at another point. It is as if you ask me “Is there anything left from the Alba of the institute?” Well, I suppose, and we all have things, obviously.

Do you keep in touch with your fellow contestants?

Yes, of course, we still have the group and the last one I spoke to was with Noelia [Franco]who wrote to me for the release of the song, and Maria [Escarmiento] also wrote to me.

you can listen now That’s me too (I want to remember) Y Don’t change your walk advances of the new work by Alba Reche that will arrive in the fall.