Maria Rodés’ voice comes through her music like a morning dove on a vintage 1920s radio. The acoustic guitar and Spanish lyrics conjure a concert in a dusty park’s gazebo somewhere in Spain, but the experimental decorations littered throughout the music has an irrevocably contemporary air. The nylon string guitar, piano riffs, and Rodés’ lullaby vocals are accompanied by digital effects and melodies, field recordings of birds and the outdoors, as well as spastically catchy vocal melodies. Her most recent album Sueño Triangular (Triangle Dreams) is actually inspired from a dream notebook Rodés wrote in over a two-year period. Lackadaisical, quiet, pulsing, calming; these seem like sweet dreams. THE BOMBER JACKET spoke with Rodés about her music and her new album.
Stream Sueño Triangular here:
TBJ: What is your musical background?
Maria Rodés: I have been singing all of my life. When I was small I took singing and piano lessons. In college, I studied jazz guitar and voice at a music workshop school. After a season in Paris, I realized that I wanted to compose. There, I began to write my first songs. I was 20 years old and since then I haven’t stopped. My first album, Sin Técnica, came out when I was 21 years old with help from the label Cydonia. Two years later, my second album, Una Forma de Hablar, was released by Bcore. After a huge tour after that, my last album came out in May of this year and I’ve been touring ever since.
Is Spain a big influence on your music?
I suppose it’s present with the Spanish guitar. Most of my influences are English-speaking things, also French, Argentinian, or Brazilian. I listen to only a little traditional Spanish music, but I suppose it’s inevitably present in my music.
Is your new album Sueño Triangular intended to be full of lullabies?
I don’t think they are lullabies or at least that wasn’t my intention. In reality, it’s an album based on my dreams.
What is the triangle dream?
Sueño Triangular is the title of a poem by Fernando Pessoa. The author describes a dream using adjectives of color, thermal sensations. I saw a parallel between his desire to describe the dream with words and my desire to do the same with music.
Is poetry a big influence on your music?
In general, no. But I always try to read poetry when I’m composing in order to absorb the authors that I like.
What type of field recordings are on the album? How did you record them?
There are field recordings of a fountain, the garden of the house where I was recording, the voice of an announcer on a Spanish TV show, rain, drops of water from the faucet, birds, etc.
What is your experience playing music in Spain and in other parts of the world?
For now, I have played the most in Catalonia. I’ve also played in other parts of Spain like Madrid, Galicia, Zaragoza, etc. I like to play in other countries. I feel more free. The farthest away that I have played was in Mexico this summer. I loved the experience. The Mexican public is very nice and enthusiastic. I hope to go back soon.