00:10This album is a bit of a generis for its history,
00:12because when it was released at the beginning of the year,
00:16it had about 14 songs.
00:22It was the first time we thought that the album was closed,
00:25when we launched it.
00:27We started to sing a lot.
00:31It was the first time of the release of the beginning of the year.
00:37We had to wait for the release of the release of the album,
00:43after August, which is where we are now presenting.
00:47The album opened was the possibility of other songs.
00:56As a result of an event that occurred in the Plaza de Bolívar,
01:00which was called Las Mantas Negras,
01:07a lot of children who died in La Guajira,
01:11I wrote The Niños Olvidados.
01:15And as the album was released,
01:16I had the opportunity to stay inside the album,
01:21where I invited Cynthia Montaño.
01:23You heard that song,
01:24that Cynthia puts a rap of denunciation
01:27to a song that is a kind of plegaria,
01:29a lament, a llor, a llor,
01:32of crying to the children who don't cry.
01:38Between other things,
01:40in our geography, they are mixing.
01:42When one knows in the festival of Porro
01:45that the chirimías are important
01:47for the interpretation and the calification,
01:50one knows how to connect the Pacific Pacific
01:52to the Caribbean.
01:54Our music shows...
01:56Our politics are apart,
01:57but our music goes to show
01:59really the connections that we have.
02:06There are patterns that I like to return
02:08and I like to explore with them.
02:12And there are stories that I have and I see
02:15and suddenly I discover that I'm in this or another rhythm.
02:18But there are stories like the Porro
02:19that I always like to return
02:21and that song, although it's a story of love
02:24very conventional or normal,
02:27really what there is behind is those patterns
02:30that are very strong, very rhythmic.
02:38I was like Colombiano,
02:40things that were made from Mexico,
02:41from the Mexicans.
02:42So I said,
02:43I have a chance to write a song
02:45for the new album
02:47that tells the Mexicans
02:48that we want.
02:50We identify,
02:52we thank all of the things
02:54that they have given us
02:56in the culture,
02:57in the cinema,
02:57in the music,
02:58and I wrote
02:59Todos Somos México.
03:05For me,
03:06the purest is in the soul of the music,
03:09not so in the sounds.
03:10I think that when Sebastian Yatra
03:13is writing a song like
03:14son muchos años que pasaron sin decir te quiero
03:18y en verdad te quiero,
03:20pero encuentro formas de engañar mi corazón.
03:24Cuando Sebastian escribió eso,
03:27yo sé que está buscando un vallenato.
03:29Si eso yo lo canto con una caja,
03:30una bacharaca y un acordeón,
03:31me van a decir,
03:32mire que vallenato tan bonito.
03:34Claro, si esto lo dice un pelado como Sebastian
03:35con unos sonidos todos modernos,
03:37a lo mejor pensamos que no es un vallenato,
03:39pero está la esencia del vallenato.
03:41Por eso cuando ellos me buscan y tienen esas ideas,
03:43ellos quieren que uno,
03:45que eso tiene que reventar.
03:47Déjame robarte un beso,
03:49que me llegue hasta el alma.
03:52Eso es un vallenato.
03:53Y a veces cuando nos volvemos a veces muy críticos
03:56y cuando nos caemos en el cuento
03:58que se acabó,
03:59desapareció,
04:00el vallenato se murió,
04:02adiós,
04:03a Emiliano,
04:04adiós.
04:06Es decir,
04:07creo que todo lo contrario,
04:08creo que el vallenato nos ha dado
04:09algo increíble.
04:11Y creo que lo que está pasando hoy con la industria moderna,
04:14el vallenato tiene un gran aporte
04:15dentro de esos nuevos sonidos.
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