- il y a 2 mois
À l'occasion de la sortie de son nouvel album, Mehdi Maïzi a rencontré Rosalía pour une demi-heure d'entretien avec la pop star. Elle raconte la genèse de "LUX", un 4ᵉ album orchestral alliant lyrisme et pop auquel elle a consacré une année de travail, enregistré avec le London Symphonic Orchestra
Retrouvez "À la régulière" sur France Inter et sur https://www.radiofrance.fr/franceinter/podcasts/a-la-reguliere
Retrouvez "À la régulière" sur France Inter et sur https://www.radiofrance.fr/franceinter/podcasts/a-la-reguliere
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NewsTranscription
00:00Tu clappes mieux que moi.
00:04Non, c'est génial.
00:05Rosalia, comment vas-tu ?
00:07Je suis bien, merci.
00:08Je suis très bien, très heureux de pouvoir parler avec toi.
00:11Tu as un nouveau album qui est venu.
00:13Oui.
00:14C'est quelque chose.
00:16Je sens que c'est un album vraiment différent de la précédente.
00:20Je pense que tu as fait beaucoup de choses sur ce album.
00:23Mais en tout cas, j'ai l'impression que la structure de l'album
00:27c'est la structure de un album classique.
00:30C'était quelque chose que tu voulais faire ?
00:33Qu'est-ce que tu as influencées pour ça ?
00:36J'ai l'impression que la musique classique
00:40pendant tout le processus,
00:42j'écoute beaucoup de musique classique.
00:44Et j'aime bien que tu disais ça,
00:46parce qu'il y a quatre mouvements dans l'album.
00:49Au moins, l'intérieur, pour moi, c'était très utile,
00:52pour pouvoir construire ça.
00:54Le premier mouvement, c'est plus sur la pureté
00:58et la departure de la pureté.
00:59Le deuxième, c'est plus sur la gravité,
01:02être amoureux avec le monde,
01:04avec le monde.
01:06Le troisième, c'est plus sur la grâce
01:09et être amoureux avec le Dieu.
01:11Et le dernier, c'est le réveil,
01:14c'est dire au revoir et le retour,
01:17si ça fait quelque chose.
01:19Tu as mentionné la présence de Dieu dans l'album,
01:23et la spiritualité.
01:25C'est pas nouveau.
01:27Tu as toujours parlé de la spiritualité
01:29ou de ton relation avec Dieu,
01:31mais j'ai l'impression que dans ce album,
01:33c'est encore plus présent.
01:35C'est bien.
01:36C'est d'accord.
01:38Est-ce qu'il y a quelque chose ?
01:40Parce qu'on voit aussi que dans le monde,
01:44nous vivons dans les temps dure,
01:46et beaucoup de gens sont venus,
01:47même plus près de Dieu.
01:49C'est même une trend.
01:50Oh, intéressant.
01:51Oui.
01:52Comment avez-vous l'impression
01:53et pourquoi est-ce encore plus présente
01:55dans ce nouveau album ?
01:57Je suis d'accord avec toi,
01:59qu'il y a certainement,
02:02au moins pour moi,
02:04j'ai besoin de plus de lumière.
02:06Je pense qu'il y a plus de lumière,
02:10pour avoir plus de lumière,
02:13pour avoir plus de lumière.
02:15Je pense qu'il y a plus de lumière,
02:17pour avoir plus de lumière,
02:19pour plus de lumière.
02:21Je pense qu'il y a plus d'unité,
02:23plus de lumière et de lumière.
02:25Il y a plus d'unité.
02:27C'est une responsabilité,
02:30je pense,
02:32en moi,
02:33je veux lire,
02:35étudier plus,
02:37en comprendre le autre plus.
02:39J'ai essayé d'apprendre d'autres cultures,
02:43qui ont toujours été une de mes passions,
02:46d'apprendre d'autres musiques, d'autres langues.
02:51C'est toujours de l'amour de comprendre les autres,
02:57de comprendre ce que c'est autre, ce que c'est autre, ce que c'est un autre.
03:00Et oui, c'est principalement de ce sentiment, de ce désir et de ce besoin.
03:10Tu as juste dit quelque chose d'intéressant,
03:12parce que tu dis que tu voulais apprendre d'autres langues.
03:15C'est une information importante pour ce album,
03:18mais tu parles dans 13 différents langues.
03:20Oui.
03:20Dans ce album, tu as appris à tous,
03:23ou tu as ajouté de l'aide à écrire des rimes ?
03:27Parce que quand tu penses en français, il y a des rimes,
03:31ce n'est pas juste des mots,
03:32ce sont des rimes et des textes reales.
03:35Donc, comment ça s'est passé dans ton processus ?
03:37Donc, par exemple, il n'y a pas d'A.I.
03:41Oui, OK.
03:42Il n'y a pas d'album humain.
03:44Il n'y a pas d'album de façon humaine.
03:48Il y a beaucoup d'instruments acoustiques,
03:53un orquestre,
03:54c'est un orquestral, hopefully un orquestral project.
03:58Et en termes de la writing,
04:02c'est anecdotique
04:03où d'autres personnes ont écrit dans ce album.
04:09Let's say, for example, Jeanne.
04:11Jeanne, ce qui est, je suis tellement heureux,
04:13que Charlotte Gainsbourg,
04:15elle a écrit deux lines dans ce album.
04:18Then, Savignon Blanc.
04:21The word Savignon Blanc
04:23comes from the dream
04:24who wrote in the studio.
04:26It just came to him.
04:27He was just improvising.
04:28He just said Savignon Blanc.
04:30And that stayed.
04:31That's the only word
04:32that it's from somebody else.
04:35Or the Fado song,
04:36the Memoria song,
04:38which is entirely wrote by Carminho.
04:40or the two lines
04:42that Björk is singing.
04:44That's it.
04:45The rest,
04:45it's one year of isolation
04:47where I basically just decided
04:50I was going to do lyrics.
04:52Just read and write,
04:53read and write.
04:54And I was very lucky
04:55that I could send
04:56back and forth proposals
04:59for the,
05:01how can I say this in Japanese?
05:03How can I say this in German?
05:04to some people,
05:06like translators
05:07that could just translate
05:08and send it to me.
05:10And I would be like,
05:11damn, this sounds really bad.
05:12Let me rewrite it completely.
05:14Now when it started
05:15sounding a little bit good,
05:16okay, boom,
05:16now let me try to like rhyme it.
05:19And okay,
05:19let's change this and that.
05:20So I would try to like,
05:22it was like a puzzle.
05:23It was like the hardest puzzle
05:25I've ever tried to build
05:28or to do.
05:29Like it was the hardest.
05:31I put,
05:32for two years
05:32I was in the same place.
05:34I put on the wall a map.
05:37I pinned some places.
05:40I put some threads
05:42and I tried to start a list of saints
05:46from different parts of the world.
05:49Hagiografías,
05:50read a lot of hagiografías,
05:52lives of saints,
05:52stories about different saints.
05:54And then languages and places.
05:57And how could I connect this with this?
05:59Okay, this is a story,
06:00this place,
06:01this person,
06:02this frame,
06:05cultural frame,
06:06this language,
06:07this,
06:08all of these elements
06:09and try to like,
06:10make it make sense.
06:11And it was the,
06:13a huge challenge,
06:14but I really like challenges.
06:16Okay.
06:16You mentioned Bjork.
06:18Yes.
06:19She's on the album.
06:20Yeah.
06:21And of course,
06:21when we're talking about like,
06:23pop star,
06:24she's a legend,
06:25she's a pop star,
06:26but she's also...
06:26The legend.
06:28I agree.
06:28And she's also something
06:29very like mysterious.
06:31You just mentioned,
06:32puzzled,
06:32like all these albums
06:33are always,
06:35I don't want to say complicated
06:36because it's not a good word,
06:37but it's challenging.
06:38And I think now,
06:41you seem to have
06:41a real relationship with her
06:43because you already
06:44collaborated with her
06:45in the past.
06:46What does she represent for you
06:47and why was it important
06:49to have Bjork
06:50on this specific album?
06:53She is such a reference for me.
06:56She's mother.
06:58She's a reference.
06:59She's like El Faro.
07:00El Faro?
07:01Far?
07:01The light.
07:02In French, yeah.
07:03Right?
07:04El Faro,
07:05allí,
07:05como que uno sabe que
07:07there's music
07:08that is possible
07:09to be thought nowadays
07:10because Bjork
07:11has made the albums
07:13that she has made.
07:14That's how
07:15important
07:17her aportación
07:18a la música ha sido.
07:20And,
07:20and okay,
07:21so I just,
07:22I dared to send to her
07:24a beguine.
07:25Okay.
07:26And,
07:27in the beginning,
07:28I was a little bit nervous
07:29because I was like,
07:30I don't know,
07:30if she,
07:30if she say no,
07:32that might mean,
07:33that may,
07:33it can break your heart.
07:34Oh,
07:34it's gonna break my heart.
07:36And also I was thinking,
07:37it might mean that then
07:38I haven't achieved
07:39what I needed to achieve
07:40with this project.
07:41But if she says yes,
07:42then it might mean
07:44that I've actually been able
07:45to materializar,
07:47materialize
07:47this,
07:48this intuition,
07:50this thought,
07:51this,
07:51this illusion,
07:52esta ilusión que yo tenía
07:54de hacer an album like this.
07:56And she said yes,
07:57and she wrote
07:57such an amazing part.
07:59Like,
07:59like she's like
08:00abriendo el mar.
08:01She's like parting the sea
08:03in two.
08:03Like her voice is like,
08:05like doing that,
08:06you know,
08:06it's crazy.
08:07And I,
08:08I just,
08:08it blew my mind
08:09when she said that.
08:10I was like,
08:10that's exactly what
08:11the song needed.
08:12I think it's even more
08:15for me interesting
08:16that you have her
08:17on this album
08:17because when we talk
08:19about pop music,
08:20you know,
08:20obviously,
08:21I don't know
08:22if you see yourself
08:23like that,
08:24but you're a pop star
08:24because you're...
08:25I love that you say that,
08:26yes.
08:26Okay,
08:27so you are.
08:27Hell yes.
08:28Hell yes.
08:29Because my sister
08:29said that I don't do pop.
08:30So Pili,
08:31take notes.
08:32No,
08:32maybe I can agree,
08:35but that's interesting
08:36because this album
08:37is challenging also.
08:39Like,
08:39we mentioned Bjork
08:40or we can,
08:41like Pink Floyd.
08:43No,
08:43it's not,
08:44of course,
08:44it can be,
08:46maybe you can have
08:46hits on this one,
08:47but it's not regular hits,
08:49you know,
08:50and did you want it to,
08:52did you want to surprise people
08:53or maybe it was not in your mind,
08:55but I have this feeling
08:56that this album
08:56is not like the other album
08:59that can come out
09:00and can be labored
09:01as pop music albums,
09:02you know?
09:03Right.
09:03I get what you're saying.
09:05Yeah,
09:05I know it's tricky.
09:07It's tricky for me to decide
09:08where should they put it
09:10on the shop,
09:10you know?
09:10I'm like,
09:11do your thing.
09:12I don't know.
09:13Me,
09:13I just like try to do
09:14my orchestral album.
09:15This is my,
09:16hopefully,
09:17my orchestral album.
09:18I always wanted
09:19to do one like that.
09:21I,
09:21since I was in college,
09:22I studied music,
09:24I studied flamenco,
09:25traditional,
09:26cante traditional flamenco,
09:28so that in college,
09:30I was lucky
09:31that I could hear,
09:32always be surrounded
09:33by so many musicians,
09:34musicians that were
09:35studying classical music,
09:36musicians that were
09:37studying,
09:38I don't know,
09:40so many other styles,
09:41so it was always
09:43something that was there
09:44and I would always be like,
09:46I actually like how
09:47un fagot,
09:48suena,
09:49how un,
09:50una arpa suena,
09:51como una,
09:52french horn sounds,
09:54like I wanted,
09:55at some point,
09:57to experiment with it,
09:59so it was now.
10:00I think you cannot choose,
10:02although you cannot choose
10:04when you can make an album
10:05with this type of lyrics.
10:06I chose,
10:08very conscious,
10:10that I wanted to make
10:11an album with this
10:12instrumentation,
10:13with this sound,
10:14but I think that
10:16the lyrics,
10:18it's something that
10:18kind of came.
10:19Yeah.
10:20Like you cannot force that.
10:21I think that that type of lyric,
10:22I would like to have done it before
10:24and it didn't happen,
10:27my writing was not like
10:28that in Motomami.
10:30Yeah.
10:30I wanted to play,
10:31I wanted to,
10:32you know,
10:32I wanted to invent words,
10:33I wanted to fuck around,
10:35you know?
10:35Yeah.
10:35But with seriousness,
10:36like I'm serious about my job
10:38and I'm a musician,
10:40so I take it serious.
10:42But in this one,
10:43I was like,
10:43no,
10:43let me,
10:44how can I write things
10:46that are going to be like,
10:48hopefully the closest to
10:49set in stone type of
10:52escritura.
10:54Escritura que in 10,
10:5520 years,
10:56I can look back
10:56and I'm like,
10:58okay,
10:58I didn't do it bad,
11:00you know?
11:01Yeah.
11:01That's,
11:02yeah,
11:02that was my hope.
11:04Yeah.
11:04You,
11:05just previously,
11:06you mentioned AI,
11:07you say there's no AI
11:09in this album,
11:09but you have a song
11:11about sexual robots.
11:13It's not AI,
11:14but yeah,
11:15maybe,
11:15yeah.
11:16So,
11:16and it's,
11:17I think it's a funny song
11:18when you listen to it.
11:19It's a fun one.
11:20Yeah.
11:21But it's also a scary one
11:23because it can also maybe
11:24represent your,
11:27one of your vision of love
11:28or of sex in the future.
11:30What did you,
11:31apart from like the fun part,
11:33what is the message
11:34behind this one?
11:36Honestly,
11:37I don't,
11:39I don't like to think
11:40of songs
11:42with a specific message
11:45because I don't think
11:45that that belongs to me.
11:47Okay.
11:47Like that's not on me
11:48to decide.
11:49Yeah.
11:49I think that,
11:51which I've said before
11:55and I truly believe it,
11:57that I claim the listener
11:58as a producer.
12:00I think that the listener,
12:01if they put enough effort
12:04and focus,
12:06that's,
12:07that can be the guarantee
12:07of the experience,
12:08that they can like really
12:10get in it
12:11and find what they need
12:12to find.
12:13And I think
12:14that there's not one
12:16specific message
12:17but what I can,
12:18that they need to find,
12:19but what they need to find.
12:20What I can talk about though
12:21is what I was feeling
12:24and thinking on,
12:24on that time.
12:25I remember I saw like
12:26some news
12:27of this place
12:29that there was like
12:30women,
12:31like robots
12:32that they were shaped
12:33as women
12:33and pretty dark
12:35and that,
12:37I don't know,
12:38it didn't sit that,
12:39I didn't,
12:40it didn't sit that
12:41comfortably in me.
12:43For some reason
12:43I was like a little bit like,
12:44I don't know,
12:46I don't know,
12:46I don't know how I feel
12:47about this.
12:48And then,
12:49I kind of like
12:50started understanding
12:51how I feel,
12:52I felt about this
12:53and I wrote this song.
12:54And there's two inspirations
12:57in two stories
12:59that were in that moment
13:01inspirations
13:01that I was reading about,
13:03which was Sun Buer.
13:05She is a,
13:06una,
13:06una mujer
13:08de,
13:09en el contexto del Tao,
13:11very important,
13:13that she,
13:14she decided
13:16to destroy her face
13:17in order to be able
13:18to viajar,
13:20travel safely.
13:23And also,
13:25la historia de Miriam,
13:26who was
13:27una mujer
13:28muy importante
13:29en el judaísmo.
13:31She,
13:31in Judaism,
13:32she
13:33lead,
13:35she was a rebel
13:35and she leaded
13:36a whole,
13:37mucha gente.
13:39And so,
13:40she represents
13:40that rebelliousness,
13:42rebel,
13:43rebeldía,
13:43that rebeldía.
13:44Rebeldía,
13:45rebeldía,
13:45rebeldía,
13:46rebeldía y representa
13:46that boldness.
13:48So I was like,
13:49with those women
13:50in the back of my head,
13:52I tried to make
13:53a bold song.
13:54And,
13:55of course,
13:55hopefully with some
13:56sense of humor,
13:57the same as with
13:58Stalker.
13:59Yeah.
13:59God is a stalker.
14:00I did a stalker.
14:01That sense of humor,
14:02but also God is a stalker,
14:05for example,
14:06it's that sense of humor
14:07because I tried
14:09to make a song
14:10in the point of view,
14:11la primera persona
14:12de Dios,
14:13which is absurd,
14:14it don't make any sense,
14:15it's impossible.
14:16Because it's an impossible,
14:18then I was like,
14:19okay,
14:19let me try to write it
14:20with sense of humor
14:21because I know
14:22that it's an exercise
14:23that it doesn't make
14:24any sense.
14:25In the albums,
14:26you explore a lot
14:28of topics,
14:28of course,
14:29and I don't know
14:31if I'm right,
14:32but I had the feeling
14:34that maybe
14:34you were in some
14:36interior conflicts,
14:37maybe during the album,
14:39because you talk about
14:40a lot of stuff
14:40that can be hard.
14:42You talk about,
14:42you said?
14:43A lot of stuff
14:43that can be hard.
14:44and maybe it was
14:45hard for you to live.
14:46It can be
14:47disillusional about love,
14:49about the wars
14:50in the world.
14:51And I was like,
14:52okay,
14:53did she find peace?
14:54Is she at peace now
14:55after this album?
14:58That's a great question.
15:01I think
15:02I found more ease.
15:05I found more freedom
15:07and ease
15:08as an artist.
15:11As a person,
15:12I'm happy that
15:13the last three years
15:16I've been praying
15:17much more
15:18than I've ever done
15:19it before,
15:20with more regularity
15:21and I've read
15:23a lot of things
15:23that have helped me
15:24be more in my center,
15:28but I think
15:30I still have
15:31too much desires
15:34for me
15:36to have found
15:37peace enough.
15:39You think desire
15:39can be
15:40desire can be anything,
15:45desire for
15:46just one thing,
15:47desiring.
15:48I feel like
15:49I'm still too much.
15:50I'm so much
15:52in the world.
15:53I still love
15:54having
15:55this ring,
15:57even if I try
15:58to not have
15:58more than this one.
16:00And you talk
16:00about that
16:01in, I think it was
16:02in Sauvignon Blanc,
16:03about rejecting luxury,
16:05rejecting luxury
16:06to have more
16:06simple things
16:07in your life
16:08and it's also
16:09a topic of the album.
16:10Yeah,
16:11el,
16:11el,
16:12el detachment,
16:14el learning detachment,
16:15because I think
16:15I still have
16:16so much
16:17to learn,
16:18you know,
16:18like I feel like
16:19through making
16:20this album,
16:21I understood,
16:23okay,
16:23Saint-Hon means
16:24so many different
16:25things depending
16:26on the culture
16:27and then I've
16:28understood
16:28Buddhism,
16:29in Buddhism
16:30they speak
16:30about these
16:31eight mundane
16:32motivations,
16:34motivations,
16:35mundane motivations
16:36and it's just
16:38so interesting
16:39like to understand,
16:40okay,
16:41oh,
16:42I'm studying this
16:43and I understand,
16:44I realize
16:45I am still,
16:46me rijo
16:49sin querer
16:50por muchas
16:51de estas motivaciones
16:52mundanas,
16:52those eight
16:53motivations
16:54are still so present,
16:56fuck,
16:57how can I,
16:58how can I improve
16:59this,
16:59how can I,
16:59how can I do
17:00little by little
17:01like change things,
17:02change,
17:02because we all
17:03live in contradiction,
17:04I think,
17:04like some degree
17:05of contradiction,
17:06because we live
17:07in a world
17:07that is imperfect,
17:08the only thing
17:10that's perfect
17:10it's the divine,
17:11it's up there,
17:12so I'm like,
17:14okay,
17:14I have to learn
17:15how to like
17:16every day
17:17do things better
17:18and try to like
17:19como
17:20trascender
17:22in little things
17:23little by little
17:23because saints
17:24are my,
17:26they are my,
17:27como se dice,
17:28my inspiración,
17:29women,
17:31and specifically
17:31in this project
17:31it's like women
17:32who were able
17:34to live their life
17:35in an unconventional
17:36way in that moment,
17:38you know,
17:39like those are
17:39inspiration to me,
17:41I think that nowadays
17:42I see so much
17:43people referencing
17:44celebrities
17:45and then celebrities
17:46referencing
17:47other celebrities
17:48and I'm like,
17:50wait,
17:51there has to be
17:51something else,
17:52eh,
17:53there has to be
17:53something else,
17:54at least for me,
17:55I'm like,
17:57oof,
17:57there's so many
17:58writers that
17:59have been
17:59so amazing,
18:01that they've brought
18:02so many amazing
18:03things on the table,
18:04I don't think
18:05that I'm inventing
18:06shit,
18:07it's just,
18:07you know,
18:08about putting light
18:09into those
18:10amazing
18:11people,
18:13women specifically,
18:14poets,
18:15they were nuns,
18:16they were poets
18:16who were writing
18:17so beautifully,
18:19you know,
18:20Bimala,
18:21she was a prostitute
18:22and then she,
18:23she changed
18:24the way she was,
18:25was living her life
18:27and she became
18:28a saint
18:28because she's part
18:29of the Terigata,
18:30she's a woman
18:31who wrote
18:33so amazing
18:34and she became
18:35a nun,
18:36so all of that
18:37it's so inspiring
18:38to me,
18:39there's so many
18:39ways to
18:40consider sainthood
18:42that are very
18:43different than
18:43what we all
18:44maybe usually
18:45are used to
18:46hear about.
18:48I think maybe
18:49one last question
18:50because a lot
18:50of other people
18:51want to talk
18:52to you,
18:52but we're in
18:53France,
18:54and in France
18:54we love Jules,
18:56G-U-L,
18:57you know,
18:57the rapper,
18:58and we found out
18:58that you love
18:59Jules too,
18:59I love Jules,
19:03it's so good.
19:04about you singing
19:05Tutu and Ineta
19:05so I just wanted
19:06to ask you
19:08why do you love Jules?
19:11For me it's obvious,
19:12of course it's great,
19:13but I just...
19:14Jules,
19:14you sound good,
19:15you sound good,
19:17I love it,
19:18I love it,
19:19I thought the melodies
19:19were so good,
19:20I love the riff
19:21of the song,
19:22the riff is so good
19:24and the beat,
19:25and then I really like
19:26the voice,
19:27how it sounded,
19:28the melodies
19:28that he chose to do,
19:29the cadences,
19:31come on,
19:32the way he,
19:33the rhythm,
19:34everything.
19:35I think that's crazy
19:35and great that you say that
19:37because you're
19:37a respected artist
19:38and of course Jules
19:39is very successful
19:40in France,
19:40but there was a lot
19:41of people who were like,
19:42I don't know if it's
19:43really good writing,
19:44good production,
19:45but you saying that,
19:46I think,
19:47I mean,
19:47it means some things.
19:48To me,
19:49when something
19:50has urgency
19:51and it sounds cool,
19:53it sounds cool
19:53and I,
19:54that's how I felt
19:55when I heard it.
19:56So that's why
19:57I also did the TikTok
19:58because that was a song
19:59that I was listening
19:59all the time
20:00when I was training
20:01in the gym
20:01and I was like,
20:03wow,
20:03it's like hypnotic,
20:04the riff
20:04and I really liked it.
20:07Yeah.
20:08Thank you very much
20:08for your time.
20:09No, no, no,
20:09thanks to you.
20:10Thank you.
20:11Thanks to you.
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