Juana Molina

Tito del Aguila

Hello. Good evening. We are on the Red Bull Music Academy lecture couch.

Juana Molina

What’s the lesson about?

Tito del Aguila

This night we will share with you, in this great place, a talk, a conversation, with a singer, a songwriter, an actress who has conquered the world from here, perhaps quietly and secretly. This round of applause is for Juana Molina.

Juana Molina

Thank you very much.

Tito del Aguila

Great. The album [listening] will come almost at the end. I wonder if you saw some of the... [gestures to video screen]

Juana Molina

It’s no longer there!

Tito del Aguila

I know. That’s odd. Then we can move on. I wanted to ask about the specifics of recording Halo. It was not recorded where you usually record your albums.

Juana Molina

Yes, it was after a year and a half I spent working at home with many technical problems, which Odín Schwartz helped me to fix. He solved many problems that came through. It was his idea to go record in a studio. “Come on, Juana, cut the crap, let’s go to a studio.” And I was like, “No, I like it here at home.” “Come on, let’s go to a studio.” So, things went on gradually... [brief applause] That was Odín applauding himself. So, at first I resisted the idea, because I’m used to working alone and entering some kind of tunnel, where I am some kind of guide and tourist of what is happening. Then I couldn’t get there, because every time I entered the tunnel something would break or... enough! So we went to the studio.

Finally one day, testing some guitar gear at Eduardo Bergallo’s studio, we were playing really loud and I said, “Wouldn’t it be great if you could play this way?” So Bergallo and Odín simultaneously said, “Let’s go to a studio!” So the deal was, I asked him to call Sonic Ranch, which was the place he proposed. I said, “OK, call and check if it’s possible.” And it was, so I decided to go into that terrifying experience of recording with other people next to me.

Tito del Aguila

We should tell our friends here that your studio is quite...

Juana Molina

Unequipped.

Tito del Aguila

Unequipped and isolated. You live in the suburbs. Your studio is actually in the center of your house, among your plants, so it was a change also in this regard.

Juana Molina

We were surrounded by nature there too, a different kind of nature, which was a torrid desert. Skin, hair, everything gets really bad. After some days there you dream of bathtubs filled with oil. “Please, someone moisturize me.” But, beyond that, the studio was amazing, because we had it just for us. It was not from 8 AM to 2 PM. The door was opened, we stayed as much as we wanted, and the variety of instruments they offered was huge. We couldn’t get to try them all because it would have taken all three weeks. So during the first days we chose equipment, we chose the stuff we would work with.

It was a bit hard for me at first – assistants were checking their mobiles and I thought, “Why do I need people here while I try to come up with an idea?” Finally I managed to withdraw from it all and started to enter the “studio” mode, which is completely different, and something different happened. Instead of going deep into the ideas that came up, I spread to the sides. I got a whole range of new ideas, in which I did not deepen, but I managed to store. We stored many timbres, new sounds, ideas... we recorded non-stop. We sometimes recorded a song for 40 minutes, so it was hard to edit it later, because you need to edit several 40-minute tracks then figure it out. It was a different experience, but I’m glad I did it, so I’m thankful for their idea.

Tito del Aguila

And for their persistence, right?

Juana Molina

Yes.

Tito del Aguila

And the process at the studio, preceded by the usual writing process at home, required long working days? What time do you feel is your best to work?

Juana Molina

At home?

Tito del Aguila

Yes, at home.

Juana Molina

When night falls. Something happens at night. It’s quiet. Birds go to sleep, so I don’t have birds singing in every song.

Tito del Aguila

How about dogs?

Juana Molina

There are fewer dogs too. There’s less of everything, so it works better for me. It works better for me acoustically and there’s also that quiet... well, it’s the night. The night atmosphere is different. Later on, once I’ve made progress in the process, I can work at any time. I’m really involved and hardly notice the time at all. But for the writing moment I like everyone to be asleep, that dreamlike thing, which is also the state I like to reach.

Tito del Aguila

I think we all know that dreamlike state by sharing your music. What is it like being in the studio and holding that feeling you’ve been working with? Is it like daydreaming? Is it much more mechanical?

Juana Molina

I always try to describe it in a different way, and the conclusion is quite the same, which is when I’m starting it’s like this here [points to CDJ decks on the table] with this play/pause button, tempo, on/off, fader, screen, whatever. Then as I go deeper, there’s suddenly a “bloop” – and I step like Alice through the studio. Then the abstract side of music appears. Although I am playing and I’m using equipment, it all disappears and images appear. The place is always quite dark. Some kind of shadows. That’s what I see, together with some doodles. And as I play, those doodles happen and I follow them. That’s why I talked about being guide and tourist. Because I’m playing it, but I feel I’m following the sound. I’m following orders from the sound. That’s why working at Sonic Ranch was so great. The textures that appeared there would not have appeared elsewhere. So, with new instruments, new ideas and arrangements, new album, all different.

Tito del Aguila

Was there any instrument that fascinated you so much you wish you could take it?

Juana Molina

Sure. That’s my usual mistake – wanting something and not doing it. That’s classic me. I wanted a Moog Prodigy, that was really [sings] “So, this love was born...” Really. It was something... “I love you.” “Me too,” it said. It loved me too, I know it did.

Tito del Aguila

It was mutual.

Juana Molina

It was beautiful.

Tito del Aguila

We will listen to it.

Juana Molina

So I quickly looked and there was one on sale. And I didn’t buy it! I didn’t buy it! Then Ernesto Romeo, who knows all about these things, told me, “If you had bought it, it would not have been the same. Because these are brothers. Watch out! It will be similar. It’ll be a relative. But it won’t be the same.” I think it’d have been quite good anyway. I feel really attracted to everything that produces bass sounds. And I strongly reject everything that produces treble sounds. So the mixing process is difficult, [makes incomprehensible bass gurgling sounds], because I can understand this sound but people cannot. Because it’s this, and another conversation like this one, and so on.

Tito del Aguila

The gullet.

Juana Molina

So I’m really enjoying it and the rest of the team says, “This is impossible to understand.” So they apply mid-range and treble, and I have to deal with it because… they are right.

Tito del Aguila

I can imagine. Is it difficult to mediate?

Juana Molina

Mediate?

Tito del Aguila

I mean, like a third party. Who balances the situation? Is it Odín?

Juana Molina

No, no. It’s an eternal dispute. I think they change it when I can’t see them. They just change it. Then I say, “Did you increase the mids?” “Just a tiny bit.” “Lower them.” And then it’s constantly like, [pointing to the corner] “Hey! Look!” Then they raise the mids. “But it needs boost.” “Leave it. Better too little than too much.”

Tito del Aguila

That’s what they say?

Juana Molina

No! That’s me! Better too little than too much if I’m not that sure.

Tito del Aguila

Eventually the final mix comes. What is that moment like?

Juana Molina

After ending this album, I decided – and I hope I can keep my promise – that next time I record an album I’ll leave it for a month at least. I’ll leave it macerating. Then I’ll listen to it. Then everything’s clear. After working so, so much, you are sometimes haunted by a sound and lose the overall perspective. These are just details. But I’d like to deal with them keeping a cool head. We have our breaks. Eduardo says, “OK. Let’s stop for an hour, grab a bite, rest our ears.” But your mind’s still there. An hour is not enough. It takes longer.

Tito del Aguila

What would be the ideal situation to listen to an album like Halo?

Juana Molina

Headphones...

Tito del Aguila

Headphones.

Juana Molina

Good headphones, a good stereo... Many times I work with headphones. I do it specially when I need such volume to clearly hear what’s going on, and maybe the sound is not that great at home. We didn’t use headphones that much this time, because the sound was great at the studio. But you have to be in a very dry place. Glass, glass, glass… Then you have a... an idea...

Tito del Aguila

A clearer idea?

Juana Molina

I can’t find the word. [An audience member shouts] What?

Tito del Aguila

You got help.

Juana Molina

But I can’t hear it.

Tito del Aguila

OK, so the idea is good headphones.

Juana Molina

I wanted to do this lecture with headphones but it was quite complicated. I wanted everyone to have good headphones, and then I thought, where would they plug them in? There must be a way. I think it just takes time and money to plan it.

Tito del Aguila

Next time... now you know what we’ll do after Halo.

Juana Molina

We could tell everyone to bring their headphones, but they might have those mobile phone headphones with no bass sounds.

Tito del Aguila

Now there’s even wireless headphones…

Juana Molina

OK. Next time we’ll use wireless headphones.

Tito del Aguila

Deal.

Juana Molina

And I can knead the mix for you. [Mimes operating a mixing board]

Tito del Aguila

Speaking about discography, you said that Segundo, your 2001 album...

Juana Molina

2000.

Tito del Aguila

2000? Why do I read Wikipedia?

Juana Molina

Wikipedia says 2003. The English release was in 2003.

Tito del Aguila

That’s it.

Juana Molina

But they didn’t print “Copyright 2000”, so I have to deal with the consequences.

Tito del Aguila

Sources are essential. OK then, when was Segundo released?

Juana Molina

It was recorded in 98 and 99 and was released in 2000.

Tito del Aguila

And you once said that that process of recording for two years paved the way for you to know what you really wanted to do with music.

Juana Molina

Exactly. Because the experience usually was what I described earlier. I entered some kind of… For starters, I didn’t know I was making an album when I recorded Segundo. I was making a demo. In those days demos came before albums. I think some people still make demos. I worked really hard on each thing. And at some point I thought, “How will I manage to do it all again and get the same results? This is the album!” Then I started to despair because some songs were really badly recorded. I didn’t have a clue. It was all recorded at this volume [makes a tiny space between finger and thumb] with a [mimics white noise] whooshing sound, real crap. So I recorded several songs again, and the result was cold as ice. There was nothing there. So I chose to leave it badly recorded. At that time I hadn’t heard about equalizers, and that’s quite important in a recording.

Tito del Aguila

The process was just you at home...

Juana Molina

The process was [hold the] microphone, [press] record. Instrument, record. At home it was just [press] “rec” and is it recorded? Yes. Done. And so I went on. My daughter was very young, so I had to work at night. It was impossible to work when she was awake. So I stayed up working until the wee hours, and I eventually fell asleep recording some keyboards. Really! I’m not trying to look cool or have an anecdote. I realized I was falling asleep, but I kept on recording. So the next day, I listened to it and… ! Because when I fell asleep, it was me who fell asleep, so whatever had to happen actually happened, and there was no finger pointing at me saying, “What you’re doing is a piece of crap. That’s all you got?” Because this jury of censors which drags me through life telling me what to do, all of them were knocked out. Then things appeared and, listening to them the next day, the question was, “How did this happen?”

Tito del Aguila

The dreamlike state again, right? Working at some level of...

Juana Molina

Yes! I played like I was following orders from the instruments, from the sounds. They took me. Segundo is full of things, there is a lot of pitch bending, non-stop pitch bending. [Mimes bending the pitch control while asleep and snoring]

Tito del Aguila

That was when you fell on the pitch and went back.

Juana Molina

I’d suddenly say, “I have to go to bed,” and fall asleep. That was impossible to reproduce. That’s why I decided it would be the album and not the demo. And I think in that album – which is endless! It lasts 75 minutes – I think there lies the seeds of all that came later.

Tito del Aguila

So it was in that passage between dreams and nodding off where you also found the setting for your recordings. I mean, today it’s quite common to see a live performance with a loop station.

Juana Molina

Loop stations didn’t exist yet. They didn’t exist at all, worldwide, back then. It’s true! Delay pedals and many things existed, but when I started playing live, for Segundo and Tres cosas… with Tres cosas, which is from 2002, I started to play more seriously. So I had two options: I could either use a backing track, which was a bummer to me, I had already tried it and by the third show I wanted to kill myself. I was like, [mimics performing while lost in thought] “Did I close the fridge? I think I forgot to call Camila! No way! I have to call her when I get home.” It was all mechanical, just death all around. Then I started using sequences, which was a feature the keyboard offered. I could sequence some musical beds. So I sequenced some stuff, but it was the same. And one day everything broke, everything breaks around me usually. It happened just half an hour before the show. So at the sound check I said, “Let’s try this song without the sequence… Not too bad. Let’s try this one…” Anyway, the audience was like 12 people, not 10,000. I tried. “Let’s see if it works.” It was all in line with my experience.

So besides that option, which would not work, I could hire a group of musicians who would have to play the same thing all the time. But I thought, “If they are good musicians they’ll get bored playing the same thing all the time. And that boredom will show. People will notice they don’t enjoy playing so I will feel uncomfortable.” I kept thinking what they would think, without asking anyone if they wanted to do it. Maybe somebody did! I never asked. I thought, “If they are good, they’ll want to play something else. And I will not. I will have to use a whip.” I was in conflict with the idea of “you do this, you do this” without making others feel bad. So I thought, “What I need is a tool that starts recording when I step on the pedal, and when I step on it again, loops that.” So I went to every store, international stores in New York, Tokyo, L.A., Paris, London. I had the phrase totally rehearsed. “Don’t you have a tool that starts recording when you push and when you push again stops and…?” And I waited. [In English] “I don’t think so.” So I’d leave, quite frustrated, but I still persevered. Then one day I entered a store in New York, it was by that street full of music stores. “Don’t you have a tool that…?” “We’ve just received a pedal which, I think, does what you’re describing, I think.” I couldn’t believe it. “Shall we try it?” “Sure.” She took a microphone and plugged it into the device. “Try it.” [Sings a lyric and pretends to loop her voice] “I cannot believe it!” “Yes, I think you can record it again and...” I was shocked.

Tito del Aguila

You took it immediately.

Juana Molina

I bought another one three days later. I couldn’t believe it! I had spent years looking for it! Years!

Tito del Aguila

Amazing.

Juana Molina

It was a miracle! It was a miracle! Besides, I might have suggested, “Hey, how are you? Listen, I’m Juana Molina. Juana... Molina. M-O...” But you need to be someone to ask for something. I didn’t think of asking some nerd to do it. He might have done it. I didn’t think of it. But that’s what I found, and I started to play immediately with those two, which were not synchronized. So I looped it all and just prayed. And I guess they didn’t offer such fidelity as they do now.

Tito del Aguila

Audio fidelity?

Juana Molina

I mean, response to the gesture. In fact you needed to play it a bit earlier. For instance, the first loop was like [beatboxes to demonstrate the incorrect loop] then it went fine. I never knew why the first loop went wrong and the second was OK. Then I had to learn that mistake in every song, so it’d turn out OK. And the other station, which looped other things, I sometimes had to turn it on and off, press play and stop during the whole song, so they would go together. When I started it was like, I wanted to record in the middle of a phrase. [Sings] “I wanna escape this mess falling down ...” Then I did [demonstrates her uncoordinated attempt at looping] I couldn’t separate foot, mouth, voice, head. It was all like, “Now!” From the waist there was nothing. There was nothing. So I practiced a lot. Then one thing led to another and I started to write that way too. But I already had the loop mode before the loop station. I didn’t invent the loop, I mean... I used to play for hours and it enveloped me like a mantra, and all the tapes I recorded when I was 18 or 20 are called Inventions. Invention 1, Invention 2, Invention 3, Invention 4, and so on.

Tito del Aguila

90-minute tapes?

Juana Molina

90-minute tapes. The same thing during 45 minutes. A guitar going [sings riff] . and I kept playing it over and over inside my head, I was afraid of losing something essential. So I recorded until the tape jumped out. Then my invention was over.

Tito del Aguila

And you listened to it.

Juana Molina

I did. Then I got a 4-track portable recorder, where songs lasted 45 minutes too. But those were not songs but inventions. Inventions Vol. 2, 3... All the songs in Rara came from those inventions. And those “invention“ tapes are much more like the albums I did later on than Rara.

Tito del Aguila

Because a producer participated in Rara.

Juana Molina

Right. And I was very insecure. I thought someone had to tell me how to make an album. Someone had to tell me, “This is how you make an album”, and I’d go, “OK.” Then I did the album as they told me to. But then, though the album sounds great and everything’s swell…

Tito del Aguila

The producer of Rara was Gustavo Santaolalla, who heard that Juana wanted to make an album…

Juana Molina

No! I sent him my demo, because I really liked one of his albums, called Santaolalla. It had nothing to do with my stuff, but I found it very authentic and powerful. When I knew he was here I wanted to meet him, and brought him three songs. And he wanted to produce the album. He said, “First of all, you need a band,” and I said, “I don’t have a band.” So he kind of led me to what was fashionable then, which was alternative rock. And the album is good, but it lacks that inner world that the others have.

Tito del Aguila

When you talked about loops – I’ll rewind over that matter – once I read you referred to the loop as a wheel, which obviously is not the real meaning, but I liked it because a wheel goes somewhere.

Juana Molina

Sure. They talk about loops as a matter of repetition. And I think repetition in a loop would be a loosened wheel, passing by the same place once and again. And what I enjoy is when that loop, which is a wheel, sets on the road and moves forward. So the wheel moves forward doing the same, but the landscape changes. And that modifies the wheel. You are in a loop, but above it other things happen, and you’re on a little horse, discovering worlds around you... I go with that wheel.

Tito del Aguila

That’s the trip where you are the guide.

Juana Molina

Exactly.

Tito del Aguila

This might be the moment for you to tell us about influences. You also have a theory about influences, right? Juana grew up in a very musical house. Not just because her father, Horacio Molina, is a well-known tango singer. Your mom, Chunchuna Villafañe, is an actress, but she is also super melomaniac.

Juana Molina

She is super melomaniac, even today.

Tito del Aguila

So she played records when you were a kid.

Juana Molina

They played music the entire day. The whole day there was some record sounding. Lots of jazz, bossa nova, some classical music, that was less than the rest but they played certain pieces, and what else? Of course they bought Beatles albums. Something funny happened to me with the Beatles. Our first album was Abbey Road. Sorry, it wasn’t Abbey Road, it was Sgt. Pepper['s Lonely Hearts Club Band]. So I used to listen to Sgt. Pepper, then – I don’t know the order, we’d need a Beatles expert. I knew those albums very well. Then at my cousins’ I saw Help, for example. “Great! Another Beatles album!” So I played it... “Wow, The Beatles really plummeted!” I thought that was what they did after. So I thought, “What you’re doing now is not good, guys.” And nobody told me, because being a kid you don’t ask. My cousins and I were eight or nine years old and they had the complete collection of the Beatles’ albums. I don’t really know those songs because I never had those albums. Not Help nor Rubber Soul, which is great. I did have the White Album. Is it before Sgt. Pepper? No. It’s previous. [Audience shouting] Is it? No! It’s subsequent!

Tito del Aguila

[To the audience] You’re worse than Wikipedia!

Juana Molina

That makes sense. It’s subsequent. So I had Sgt. Pepper, the White Album, Yellow Submarine, Abbey Road. We did not have Revolver. We didn’t have the best one. That one made me jealous of my cousins, because they had it and I thought, “This one is good.” But telling [my parents] to buy it didn’t cross my mind. I had to go to my cousins’ to listen to Revolver.

Tito del Aguila

Music would arrive home or you’d hear it there.

Juana Molina

It just didn’t cross my mind, buying a record, or asking for it. It was a different time too, when things came gradually. It was an album every three months. So for three months, six months or a year, I’d listen to a record which I really liked. When I was 12 my dad bought me Larks’ Tongues in Aspic by King Crimson, and that day I became somebody.

Tito del Aguila

That’s an influence.

Juana Molina

Sure! I’d take a speaker, put it here [mimes placing speaker by the side of her head], take the other speaker, put it here, I’d lie on the floor, set the needle... and die. I died listening to all that. We wanted to play an amazing part of that album here today, but it’s nowhere.

Tito del Aguila

Not on YouTube, nowhere.

Juana Molina

They kept it all for themselves. There’s nothing anywhere. That album is not online. I always tell this anecdote, because I think it’s amazing how perceptions and feelings work. There was a part of a song which started with some guitars. [Sings riff] It turned more and more dense, then suddenly a window with a curtain appeared, together with the shape of a couple. She was blaming him, whom we didn’t hear. And I heard [sings incomprehensibly, as if crying and arguing] Always at that part this lady appeared with all those problems.

Tito del Aguila

You heard and saw that.

Juana Molina

Sure. That part arrived together with the lady, the curtain, the window, the darkness, me outside, always the same. Years later, many years later, when CDs appeared, I immediately bought “Larks’ Tongues in Aspic” remastered. I bought it, put it on, and when it was time for the lady to appear, what appeared instead was [mimes playing guitar]

Tito del Aguila

A solo.

Juana Molina

Some gentleman playing a solo. I guess they thought, “This is not clear, it sounds like a lady arguing by a window. Let’s make clear it is a guitar.” They ruined the song for me. It just turned into, “Uh, it’s just a Fripp solo.” There was nothing interesting about it. I just listen to the vinyl of that album. Because there are all the paths, everything. Every time you listen is like when you take the bus... no matter the transportation, the point is you don’t have to drive, so you can watch. So let’s say you take the bus to school. You see the red awning, the green door, the store, that traffic light, a statue, and no matter if you make that trip 200 times a year, you will always see the red awning, the store, the statue... you don’t see the rest. As if we’d draw a path when listening or watching, and would always pay attention to the same things. Something will always catch you and make you listen. I like the music to be that, and instruments to be what that word indicates – a means to reach something general, which is music. So I don’t like it when you say, “Great bass!” “That’s some guitar!” “Spectacular keyboard!” I don’t like it when that happens. I like something to happen. I want the lady by the window, and other things to take me away from those guys there playing like assholes. [applause]

Tito del Aguila

It happens to everyone, they all see ladies and windows, or something like that, when they listen to Juana. We are heading towards Halo. But first I’d like to ask you about the live performance, being a shy person, right?

Juana Molina

Right.

Tito del Aguila

And how were those...

Juana Molina

I also have the theory that shyness is the other side of vanity. “Oh, no, I’m so ashamed!” “Why so ashamed? Go sing! Cut the crap!” Am I right? That’s how it is, I have to admit it. In my early years, once, I was playing at... I forget the name of this little pub, by Serrano Square. And there were people yelling, “Do the Korean impression!” I remember feeling so hot with the sweater I was wearing, but my clothes underneath were not OK. So I just kept sweating, drops falling from my head as people screamed, “Play some character, Juana!” And trying to balance it all I was like, “Well, this is the musical character.” And my fingers, all the time… [sings with wobbly voice, trembling fingers] I was terrified! And some kid, sitting in the first row like this [folds her arms] said, “Sing, Juana.” He spoke to me with such authority, so seriously, that he put me in my place. He slapped me. Do what you have to do and cut the crap. So I was like, “Oh, he’s right!” And I started singing. I was doing it a little better and also felt that someone cared – he was not asking me to play a character. I think there were eight of them here, and 10 over there, asking for characters –the Korean woman, the cosmetologist…

Tito del Aguila

And that voice helped you...

Juana Molina

He helped me. We became friends later on. Those are small slaps that put you in your place. People need someone to put them in place when they are out of place. Then once in Chicago I went on the stage and it was as if some kid had gone there to arrange some wire. Just the same. The place was crowded but not for me. I was opening, so I went on the stage and I saw there was no [audience] I was outraged. “I’m leaving. Fuck them all. What is this?”. And instead of leaving, I did “bam”, and I started with “Martín Fierro”, and being on a keyboard, something more distant, your fingers don’t shake so much, you lean on the keys so the keyboard sort of supports you. So I started. I entered that playing trip, the world disappeared and the show was great, leaving aside if people was listening. At some point it was like an insight. I thought, “There is nothing, nothing you can do to get these people’s attention. Nothing. So, do what you have to do. And that’s all.”

Tito del Aguila

And they will be there.

Juana Molina

No! I don’t know what will happen. After a few songs there was some kind of attention, but the main thing is that I managed to stop thinking what others would think. Like the joke about the jack, right? I’m sure nobody knows it, or many. The one about the jack. But I would have to say a curse word at the end!

Audience member

Tell it!

Juana Molina

It’s really long, but I’ll sum it up. Then you tell it properly. It’s about this guy whose tire goes flat. Now don’t start, “That one, huh?” I’ll tell it anyway. He’s just surrounded by darkness, right in the middle of The Pampas, absolutely nothing around him, with a flat tire. “Fuck it! I can’t believe it! What am I gonna do now?” He gets out the car and starts looking around. And over there, far, far away, he sees this tiny light. “Hey! That must be a house! I’m heading there! What if they are sleeping? Perhaps they are in trouble, or the light is on but they’re sleeping, or they’re doing something and I’ll interrupt them just to borrow a jack to lift the car this late... the fact is I need it, I can’t stay here all night.” So he keeps walking as he thinks about everything that will happen to him. “Maybe they are having some romantic action and I interrupt them. They will hate me!” And he keeps thinking as he approaches the house. He finally knocks and a man opens the door: “Hello, how can I help you?” “You know what? Stick the jack up your ass!” That’s what it was.

Tito del Aguila

We are almost… [Applause]

Juana Molina

It’s too long to work.

Tito del Aguila

We’re leaving. We’ll leave you all with the music. We’re finishing up.

Juana Molina

Are they making this gesture? [Twirls her finger]

Tito del Aguila

I saw a light passing by.

Juana Molina

They do that a lot on TV.

Tito del Aguila

Yes! You know about that. I saw a light. Juana Molina will soon be presenting Halo on May 17th in Niceto Club, but you will get to listen to it before that.

Juana Molina

Yes. You will not hear the whole album. I scammed you. It’s too long! First I’ll show a video, which some might have already seen. I think it’s awesome.

Tito del Aguila

But you won’t see it on YouTube.

Juana Molina

No, you will watch it here, on this beautiful screen. We hope we can watch it properly. And when we hear the album later, we won’t listen to that song. So I had my doubts, because there will be a song next to another one which is not the perfect match. It will not achieve the effect it had in the mix, when we said, “This song goes after this one. I’m not sure. Yes? No? It goes here!” That song won’t be there, so it will be kind of weird. And I’m not going to play either… [Responding to audience member] What? They don’t want it! It’s not my decision! It wasn’t me, it was the production. They said, “The album is too long, let’s play it shorter, because people are going to get fed up.” No idea how many songs they took out. We also took out the song we used in the promo. And there’s another one missing, right? There were three.

Tito del Aguila

We had to choose. The order came from above. Let’s give Juana Molina a big round of applause!