Reescribe este título y tradúcelo al español: “Otro No Quiere en Cómo la Terapia, Asghar Farhadi, Milton Nascimento y Más Inspiraron Su Nuevo Álbum ‘¿Amor, Adivina Quién?'”

It was never going to win. But she liked it, and she liked that I was interested in it, and that’s all I think she ever wanted. I think she would have liked this record a lot.

Therapy

Therapy seems to be a recurring theme in your work, especially in this album. How has it influenced your approach to writing and creating music?

Therapy has been a big part of my life for a long time. I think it’s been really helpful for me. I think it’s been helpful for a lot of people. It’s definitely something that I think about more and more, and I think I try to approach things in a more therapeutic way. The process of creating, especially in my early years, was a way of making meaning out of chaos, which I think is a lot of what therapy is about, making meaning out of chaos. That’s what therapy is: sitting and talking about your shit until it starts to make sense. I think I’m pretty good at that. I think I like to talk about my shit until it makes sense, and I think that’s what I still do in my songs. I still talk about my shit until it makes sense.

It’s not necessarily that I’m talking about specific things that I’m working out in therapy, but I think therapy just informs the way I approach things. I think that’s just how I approach the world now. I think I’m more interested in the human condition than I ever have been, and I’m more interested in the human experience than I ever have been. I think that’s largely because of therapy and because of the therapy that I’ve done. I think it’s just made me more interested in the world and more interested in people. And I think that’s why my songs have changed a lot and why they’ve become a lot less selfish. I think that’s why they’ve become a lot more about other people and a lot less about me. I think that’s why they’ve become a lot more about other people and a lot less about me.

It’s not that I’m not talking about myself anymore. I’m still talking about myself. But I’m trying to talk about myself in a way that’s more relatable to other people. I’m trying to talk about myself in a way that’s more relatable to other people. I’m trying to talk about myself in a way that’s more relatable to other people. I’m trying to talk about myself in a way that’s more relatable to other people. I’m trying to talk about myself in a way that’s more relatable to other people. I’m trying to talk about myself in a way that’s more relatable to other people.

Asghar Farhadi’s films

You’ve mentioned that you were heavily influenced by Asghar Farhadi’s films while making this album. What about his work resonated with you, and how did it shape the sound and themes of Love, Guess Who??

Asghar Farhadi is a filmmaker that I’ve been really interested in for a long time. I think I first saw one of his films maybe five or six years ago, and I just thought it was incredible. I think he’s an incredibly talented filmmaker. I think he’s an incredibly talented storyteller. I think he’s an incredibly talented writer. I think he’s an incredibly talented director. I think he’s an incredibly talented filmmaker. I think he’s an incredibly talented storyteller. I think he’s an incredibly talented writer. I think he’s an incredibly talented filmmaker.

What I love about his work is that it’s so human. It’s so real. It’s so raw. It’s so honest. It’s so authentic. It’s so true. It’s so true to life. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience. It’s so true to the human condition. It’s so true to the human experience.

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His films are very dark. They’re very intense. They’re very dramatic. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. 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They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. They’re very intense. They’re very emotional. They’re very heavy. They’re very heavy. I think I knew ‘Travessia’, but I didn’t really know his stuff deeply. And Minas is his record with Lô Borges, and ‘Minas / Paula E Bebeto’ is a medley from that record. It’s just so beautiful. I think that song particularly, it’s so longing – that’s what I was feeling a lot when I was finishing this record. Just longing for connection, longing for presence, longing for love. And the way that Milton Nascimento sings is just so beautiful and so full of feeling. It’s just like, “How can I sing that way?” [laughs] It’s just so beautiful.

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But then, I had a moment where I was like, “What am I doing? Why am I not just making music for the sake of it?” And I think that’s where my journey of falling back in love with music began. I started listening to music from the ‘70s and just letting myself feel the warmth and beauty of those songs, without overanalyzing or intellectualizing everything. I realized that music can be made with big hearts and big feelings, and it doesn’t always have to be about technology and innovation. It was a turning point for me, where I let go of my preconceived ideas and just allowed myself to enjoy and feel the music.

I think this album, in a way, is about falling back in love with music and rediscovering the joy and passion that it can bring. It’s about letting go of the pressure to be perfect and just allowing yourself to be raw and honest in your expression. That’s where the beauty and magic of music truly lie, and I think that’s what this album captures. It’s about embracing the imperfections and finding the beauty in the chaos, just like those singers who gave it their all, even if they weren’t technically perfect. It’s about being gnarly, disgusting, passionate, overwhelming, and overwhelmed – all at once.

In the end, it’s about reconnecting with the essence of music – that raw, unfiltered expression of emotion and feeling. And I think that’s something we all need to remember, especially in a world that’s becoming increasingly obsessed with perfection and technology. Just let yourself feel the music, let yourself be moved by it, and let yourself fall back in love with it all over again. Se volvió súper científico, y eso hizo que esas cosas fueran difíciles de amar.

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No sé si hubo un solo día en el que me desperté sintiéndome así, pero en algún momento, me desperté y pensé: “Oh, esta cosa que era como un maldito fuego en un faro, que me daba una razón para levantarme todos los días, ya no está”. Estaba de duelo por mi abuela y probablemente un poco deprimido, pero sentía que también había perdido eso. Y fingía que no lo había perdido ante mí mismo. No me permitía pensar “Esto no es todo. Esto no es lo que se supone que debes estar haciendo”. No quería creer eso, así que estaba tratando de producir para otras personas y haciendo música para comerciales. Hubo momentos en los que se sentía bien, pero cada vez era más difícil motivarme para hacerlo y preocuparme por ello.

Pero en algún momento, pensé: “Esto es todo lo que haces. Esta es tu vida. Este es tu trabajo, no puedes odiarlo. No se te permite odiar esta cosa que es tu vida”. Creo que fue alrededor de esa época, en 2019, me mudé al norte del estado y pasé un año de aislamiento previo a la pandemia y terminé este disco en su mayor parte. Y luego regresé, un mes y medio después la pandemia golpeó Nueva York, y estaba listo. [risas] Mi mente estaba preparada para ello. Pensé: “Bien, volvamos al modo de aislamiento”. Y fue durante ese tiempo que el algoritmo de Spotify me dio esta canción llamada ‘I Don’t Want Nobody’ de Eddie Harris. Él es un músico de jazz, y la canción es increíble. Es como Frank Ocean antes de que existiera Frank Ocean. Es este épico de funk-soul, y es tan triste, desesperado y hermoso. Armé una pequeña estación de radio solo para alimentarme automáticamente nueva música basada en esta canción, y empecé a hacer pinturas acuarela y simplemente escuchaba música. No estaba realmente creándola durante el comienzo de la pandemia; simplemente estaba escuchando una y otra vez toda esta música de los años 70, solo cosas raras de jazz, funk, soul.

De manera extraña, estaba pintando esta imagen de Britney Spears en su primer colapso nervioso, donde se rapó la cabeza, y hay una foto que los paparazzi tomaron de ella después de romper un paraguas y frunciendo el ceño a la cámara. Simplemente pinté esa imagen una y otra vez en acuarela y escuché soul, funk, jazz raro. Algo pudo florecer allí, y es como “Oh, la música! Puede ser libre y buena”. De nuevo, eso se relaciona con lo que Milo Nascimento señalaba antes, pero algo sucedió en ese período de tiempo en el que pasé de sentir – esto tal vez suene demasiado, pero cuando ya no sentía que la música era mi luz guía, no sabía qué hacer. Era como “¿Qué haces en la vida? Si esto no es, ¿qué diablos es?” Gran parte de este tiempo desde entonces ha sido para mí descubrir eso y construir una vida en la que la música pueda existir y yo pueda amarla, pero también puedo ser una persona que hace otras cosas también. Eso está bien, y esas cosas también son importantes.

Esta entrevista ha sido editada y condensada para mayor claridad y longitud.

El álbum Love, Guess Who?? de Autre Ne Veut ya está disponible a través de Rebel Bodies Music.

Love, Guess Who?? de Autre Ne Veut