Savath y Savalas (Prefuse 73)

Title: La Llama (w/ FREE 45!)
Label: Stones Throw
Genre: Folktronic
Format: CD

INCLUDES A FREE STONES THROW FAN CLUB 45! (Available upon request with CD. Just ask for it in the special orders field when placing your order. For in-store purchases, just ask for it!)

Savath & Savalas is Guillermo Scott Herren (perhaps best known as Prefuse 73), Eva Puyuelo Muns and Roberto Carlos Lange.

Many of those familiar with the tireless musician, producer and songwriter Guillermo Scott Herren often cite his Prefuse 73 as favorites from his vast catalog which has inspired a new generation of producers (Flying Lotus, Dabrye, Hudson Mohawke, etc). Guillermo has always remained one step ahead of the pack though by diversifying his sounds outside of the ‘glitch hop’ universe. With a love for South-American psychedelic music and Catalan folk melodies, Herren found inspiration for La Llama in the early 70s independent music scene that had briefly flourished in Recife, Brazil. Stones Throw is proud to release this record. Somehow a minimal Catalan psych-folk album inspired by Brazilian counter-current musical giants falls in line with Mars Volta-leader Omar Rodiguez Lopez’s prog-rock opus Old Money and Madlib’s Beat Konducta 5&6, a tribute to J.Dilla. It is sure that this album, an acoustic excursion, drenched in Puyelo Muns’ breathy vocals, maintains some of the minimal electronic sensibilities that Herren allows to run throughout his different guises. But it marches to its own beat. Defiantly cerebral, not made for dancing, no “stand-out-single…” Well, for Stones Throw, that’s just par for the course. La Llama fits perfectly in our ever-expanding musical tapestry.

Tracklist
1. Intro
2. La Llama
3. Las 7 Sendas
4. Carajillo
5. Una Cura
6. Pavo Real
7. El Colleccionista
8. Sounds Of Bowery
9. La Loba
10. Pajaros En Cadaques
11. Me Voy
12. Untitled
13. Barceloneta
14. Postlude
15. No Despierta
16. Adeu

Stones Throw interview with Guillermo Scott Herren:

Stones Throw: You talk of 'the early 70s independent music scene that had briefly flourished in Recife, Brazil and neglected-visionaries like Marconi Notaro, Flaviola, the revolutionaries Lula Cortes and Ze Ramalho as having an influence on La Llama. For the uninformed and in your own words can you talk about that time, the people and what they mean to you?

GSH: These influences from the Recife music scene can be seen as direct and indirect influence. The feel of that time and scene, from a musical and independent aspect were far less produced and open ended opposed to other Brazilian releases at that time. Those albums feel as if they are in an environment of their own, the kind in which the surroundings and atmosphere play an equal role in the music written. Although, there are many many factors that come into play as far as influence regarding Savath & Savalas.

Eva Puyuelo Muns and I started by simply figuring out ways to make new songs in Catalan and Spanish by studying an array of older folk records as well, like: "Juan Mañuel Serrat" to "Paco Ibañez" without turning our own creations into horrible desecrations that can be interpreted as what I call "hotel lobby music" i.e. the type of pre-marketed "world music" project by placing a watered down preset beats and sounds while adding lyrics in other languages, more suitable for commercial licenses and synchs. In our situation, we wanted to explore previous atmospheres while creating new music with a strong grip on it's timeless elements. We express our music through our language we speak based on our direct cultures, opposed to some "conquistador esque" product that some rich dude in an overpriced cardigan asked us to do for a big budget with a co-op promotion with starbucks.

As far as my own foundation as a producer, I see a producer such as J Dilla or Madlib in the same light as I would Arthur Verocai, Axlerod or any other significant arranger from any time in history. Therefore, it all goes into the mix at some point. The most important part for me is that this project would never be sen as a Prefuse 73 "side project" or carry the stigma of Prefuse 73 due to the exchange between Eva and myself.

Where / when was the album recorded?
This album was recorded at my apartment on the Bowery in New York. A very noisy apartment with zero budget.

What was the aim for the album it?
Eva Puyuelo Muns and I started by simply figuring out ways to make new songs in Catalan and Spanish by studying an array of older folk records as well, like: "Juan Mañuel Serrat" to "Paco Ibañez" without turning our own creations into horrible desecrations that can be interpreted as what I call "hotel lobby music" i.e. pre-marketed "world music" more suitable for commercial licenses and synchs.

In our situation, we wanted to explore previous atmospheres while creating new music with a strong grip on it's timeless elements. We express our music through our language we speak based on our direct cultures, opposed to some "conquistador esque" product that some rich dude in an overpriced cardigan asked us to do for a big budget with a co op promotion with starbuck's.

Who played on it?
Eva Puyuelo Muns, Roberto Carlos Lange and Myself. Some additional percussionists as well.

It's described as Catalan acid folk. Is that a description you like?
I don't mind it but our newest member is Ecuadorean. Eva and I are the only Catalans ... But it does sum up the initial idea.

How does the music and culture of Catalonia influence you when you write for Savath & Savalas? And, in your mind, how separate is Savath & Savalas from your other musical projects / aliases? Which part of your personality does Savath & Savalas represent?
Savath + Savalas is definitely an exchange between me, Eva, and now Roberto as well. I don't affiliate my projects with each other. If I'm involved in any project - my ideas, textures, musicianship, etc. is there, yet it's definitively all different in approach.