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Pavel Núñ ;ez and Pedro Guerra seen on the Spanish singer-songwriter’s Instagram, just before performing the bachata “When I invent you” three days ago in Madrid.
Dominican singer-songwriter Pavel Nuñez and his colleague Pedro Guerra joined their voices this weekend in the streets of Madrid to record the video clip of their joint song “When I invent you”, which emerged from an idea of the Spanish singer-songwriter in the confinement due to the pandemic.
“This begins in confinement, it’s something very beautiful, we have a friendship for a while and Pedro was sending non-musicalized texts so that his friends could put music to it,” Nuñez told EFE.
The Dominican is in Spain presenting his new album “Pavel Trópico”, which he showed this week in an acoustic concert in the mythical Madrid venue Libertad 8, where he sang next to War.
The Spaniard explains that during the hardest part of the pandemic he wrote several texts and sent one of them told Núñez thinking “that he might like it”: “I didn’t imagine that it would end up being a bachata and going towards a terrain that even for Pavel is strange”.
During this Friday both recorded the video clip in the studio of the Spanish composer and through several streets from the center of Madrid and some of the best-known parks in the capital.
+ Collaboration turned into a bridge
The Spanish singer did not expect the song to end up on the Dominican’s album and says that the collaboration was born as a result. from the desire for “what Brazilians call partnership”, an action between equals that seeks to add talents.
“I wanted to rescue that essence because when you do that, you expect Pavel to take you to his field”, he says, before acknowledging that musical collaborations, very much in vogue these days, “have their heads and tails”.< /p>
“It is true that now there are many groups that compose together, there may be a creative excuse and also that everyone wants to catch a piece (make a profit), I don’t think so. what interests me is the other, when two people get together to add”, he adds.
According to Núñez, the music market “was convinced that in the participation of several artists in a theme there is greater portability” especially because “there are people who adhere to the other” artist they know the least.
“We have been like bridges, bridges that are tangible and that make people come to music in a very natural way”, he explains.
+ Author music versus urban music
Both artists recognize that the state of health of author music is one of the questions they are asked the most about and they defend that it will always have a positive impact. “a loyal public” which “also fills stadiums.”
He says that the song they both share in a bachata in an improvised way: “since I read I felt the text bachata because it seemed to me that the rhymes fell in those tempos”.
“Our music is far from Latin, in my case this is an experimental album and in the case of Pedro’s song it is that he was making that album at that time, it is not a plan to make more music. “Latin music,” he says.
For his part, Guerra alludes to the immediacy of social networks as the main element for urban music to go viral in such a short time.
“Urban music is not new, the only difference is that with the immediacy of social networks it is a phenomenon that multiplies and is known instantly in all parts of the world”, declares.
Thus, he points out that author music “has always been underground.”
“But we have Serrat, Silvio Rodrí guez, Ana Belén and Victor Manuel, who also go all over the world and fill stadiums, then there are the new generations that perhaps cute; none of them hit like Bad Bunny, but that doesn’t mean they aren’t there”, he stresses.