It was the best thing that could happen. Obviously, we were super happy with the result, and we knew that people who understood the whole process and the music were going to love it, but we didn’t know that so many people were going to welcome it so well. There has also been a chain of events that have helped the release a lot, among them, Rosalía posting a story promoting the album. And there are so many fan reactions on Youtube, the reception has been super cool, I’m really happy. I didn’t expect it to go so well.

I don’t really know, it’s very satisfying when they say nice things about the work you’ve done. It’s exciting and emotional. But at the same time, you also analyse –I’m an obsessive person, and I want to know what people think–. But above all, it’s emotional.

The truth is that I went crazy. I mean, I wasn’t understanding why. It all feels like a simulation; I don’t know if I’m really seeing this. But I was very happy! I wasn’t really following the site though. But then, talking to my manager, Manu, and to other people, I found out what it was all about –and it was serious.

It’s been very impactful. There are numerous day-to-day details, especially at the beginning. When you start analysing everything, you might not arrive at clear conclusions. But through the day-to-day interactions with them, there come moments to check if the lyrics are cool. They might recommend changes to a bar, suggest altering a bass drum, or adding something else. So, indirectly, they've played a 100% part in the album.
In terms of professional and musical growth, it’s been substantial. I’ve learned a lot from him, particularly Rusowsky. Barry, he writes like a machine, and he’s been a significant influence in teaching me how to convey things. He’s like a father, straightforward with his advice, and it resonates deeply. They’ve all been part of this entire process.
Tristán and Mori have also played vital roles. I’ve learned a lot from them, particularly on an aesthetic level. I'd say Mori has been the most influential person. They also collaborated on the album cover, worked on a fanzine, contributed to the videos, did lettering and visuals... Everyone at RusiaIDK has been deeply involved in this project.

I’m quite spontaneous. This whole journey has been about introspection, personal growth, and finding myself. And I’ve been in great company. I haven't looked for anything, I've found myself; it all sort of fell into place. I've been making songs, improving, working, going abroad to work with super cool people. The album was made in English, almost unintelligible—the lyrics were also very beautiful.
Initially, I had some early demos that we took to Aranda del Duero, where Andrés has this fantastic place—an old restored farmyard with a high ceiling. The acoustics there really influenced the album; you can feel the space's reverb in the music. Once we had fairly solid demos, we went our separate ways. On my way back, my computer crashed, and I was left without it for a week. During that time, I started writing lyrics. I didn't want the album to be just one person narrating a story. I wanted everything to tell a story. The voice is just one element, much like a flute solo or a lead that comes and goes in the music.

It began in English, primarily because of the music I listen to; nothing too elaborate. I can do those melodies in English. But it was challenging. To be able to do this in Spanish and pay justice to our culture… you have to connect with the people here.

It's akin to a work of craftsmanship—similar to a blacksmith crafting the perfect knife or a watchmaker delicately handling the bearings and axles of a watch with tweezers to ensure they function flawlessly. It's about creating a refined product in the end. I believe it closely aligns with that concept—being meticulous, thoroughly reviewing everything, but without becoming overwhelming.

It all started on a day with the guitar, creating the melody that's reminiscent of it. Those chords do have a bit of a vibe similar to No Surprise, but it wasn't an intentional reference. I liked the idea of it being more like a soundscape. And then I enjoy how you can pull elements from here and there. It's like assembling your super intricate Lego set or customising the appearance of your video game character with an awesome skin.
Ultimately, I love composing, but I don't think in terms of a rigid structure. I think in terms of elements that come and go, like when you're watching a film and things unfold. There doesn't always have to be a catchy hook or a chorus that sticks with you. Instead, it's about taking you on a journey, leaving you with a feeling that says, I loved this film. You might not watch it again, but it gives you an unforgettable experience.

It came about through Jackson, our AR from Los Angeles, who has been in the whole process working really hard. Through him, we sent them a track to try out and they sent it back to us with a great contribution.

We were over the moon, and on the day we met, everything just flowed for about four hours in a London studio. Thanks to the Pitchfork exposure, the label 4AD started showing interest. They invited us to London for a few days to get acquainted and explore if we could collaborate with someone cool.
Out of the blue, Mura Masa came into the picture and expressed interest in meeting up. It was like, what the fuck is going on? But everything fell into place seamlessly. We headed to the studio, and the first idea that emerged was fantastic. Mura Masa has an abundance of talent, with an incredible knack for manipulating sounds, excellent taste, a swift work pace, and a well-structured method. He's like a bureaucrat, but in the world of music.

In my opinion, it all starts when people began making music and publishing independently. All this wave of bedroom pop, and all these people from the US. Kids who compose at home and are not supported by big companies but people find out what they are doing. We also started making music, and in Spain, the first time people talked about the bedroom pop wave was about Rusowsky and Mori. I think it's something that has to happen naturally if the music is liked. Why wouldn't it progress, you know?

Rosalía is a huge inspiration for the album and for many people. In Spain we've always been like that, I think we've been copying sounds from abroad –like with bedroom pop. And somehow, we ended up introducing Spanish. We have a very rich culture, an incredible folklore, why shouldn't we use it? It's also a surprise factor for people from abroad.
Rosalía is the first person who suddenly hits the nail on the head. And she does a project like El Mal Querer, which at first doesn't make any sense but she connects it with pop music, and makes Kendall Jenner listen to it at home. She's like Kim Kardashian level of fame, you know? Listening to flamenco. Unbelievable.

I love it! You can take on as many personas as you like. I can channel the voice of the singer with the deepest baritone, and then in an instant, I can transform into Ariana Grande and hit those high notes. It's like, I can truly become anyone—it's the real deal. It's all about expanding horizons and saying, let's explore this. It's like having a versatile tool at your disposal.

For me, it is what it is—an incredible tool. Ideas always come first. If they're great and the melodies are cool, it doesn't really matter whether they're enhanced with autotune or not. Ultimately, it's about adding an aesthetic touch. I mean, if someone wants to sing incredibly, they can delve into replicating operatic works, you know? I'm not saying this to criticise anyone; I'm referring to those who might be a bit stuck in the past or have a somewhat closed-minded perspective. It's just that an out-of-tune piano can be quite cool, and a flute with an unconventional and imperfect sound can be incredible.

I've never really pondered why suddenly these one-minute songs are becoming a thing. I think it's cool to recycle and try new things. Creating something genuinely original can be challenging. It strikes me that just as trends evolve, people are now making one-minute songs, but in a couple of years, they might grow tired of it and shift to creating longer seven-minute tracks, you know?
Listening to something that's only 20 seconds long is unsatisfying. I mean, you can't really trim it down any further because it wouldn't make any sense. It's like listening to a repetitive loop, and eventually, it gets monotonous. So, our concern is that people might tire of hearing the same thing all the time.

In this case, Beso Bruma literally is like the beginning of a bulería. There's a song by Camarón, Una Gitana Morena, that starts off with some super frenetic clapping and says, ‘Let's go there!’ I love the flow of the ‘jaleos' in flamenco culture, but I also love Young Lean, he's an ultra-reference. Frank Ocean, Dean Blunt, Rae Klein. From the world of furniture and design to jewellery, fashion and decoration. They influence a lot of things that I create. Also, filmmaker Ulrich Seidl.

Some people have claimed that I studied chemical engineering, but that's not true. What I've said is that I was on the path to studying chemical engineering, but eventually, I pursued a degree in music. I believe that studying music is akin to studying chemistry, craftsmanship, engineering, or any discipline that refines things.
From a young age, I played the guitar, the horn, and percussion, but it was in the typical music school in my village. When I got to university, I was a bit lost, to be honest. I wasn't sure what direction to take. I've always had a penchant for creativity—whether it was making up dribbles in football or projecting plays in games, I loved being creative. In the end, I ended up studying music, and it was actually my mother's suggestion. She said, why don't you explore this field?’
During my studies, a pivotal moment occurred when I tore my cruciate ligament. I found myself lying there for three weeks with my leg elevated, and it was during that time that I decided to delve into this

The project. The day I decided to call myself Ralplhe Choo, I was knee high.

It's a reference that I thought was funny at the time; I love it because it has a great sound to it—short, succinct, easy to remember, and catchy. It originates from The Simpsons episode where Ralph,Chief Wiggum’s son, gives Lisa a letter for Valentine's Day that says 'I Choo-choo-choose you'. It's just an anecdote.

I usually choose the name first and let my intuition guide me, and then I look up what it means. It's something that happens a lot in my life. If I write lyrics, once I've finished them, I say to myself, ok, it actually makes sense.
When I released Lamento de una Supernova, I thought that the record could follow this whole story. Supernova, Supernova. And it was a word that started to resonate in my head a lot. It was clear to me from almost the moment I started making the album.

When the album was finished, I was already obsessed with a song from their previous album called Blades of Grass; I couldn't stop listening to it. I kept passing it to Manu, my manager, and it occurred to us to send it to him. She (Kelly Zutrau) sent us a bunch of vocals to try out and so on, and in the end we reworked the song to include them so that it would all be in harmony.

I think Voycontodo holds a special place for me. That song helps me keep going. It's also a bit of a message for people, urging them to trust that everything will work out, to give it their all, not to let opportunities slip away. Even when you feel like you're leaking like a sieve, there's still something left, you know?
And then there's Total90Nostalgia, which is like my little baby. It's a glimpse into my childhood, a nostalgic memory of me when I didn't care about anything. It's beautifully expressed now as an adult. I’m also very fond of Juan Salvador Gaviota because of the book. iIt's been a bit like my Bible, something I revisit from time to time to remind myself that I'm here doing what I love.

I don't know who said this about bossa nova and elevator music as a metaphor for going up to a plane where you're going to stay, a new place where you're going to discover this whole universe. I really wanted to do what is a classical overture, you know?

It's very spontaneous. Normally it depends on the moment. For certain gig I might bring in some mariachis and a pizza delivery guy. But the budgets are higher now, so I’d like to think of something bigger, create a cool format. We’re mentally working on it.

She's very proud. She's had a week of news: Mum, I've just been followed by Rosalía! Mum, I've just been featured in Forbes! I don't know, she sees the advert in El Corte Inglés all of a sudden and she's very excited now that she's starting to understand it. She's very happy now, it was about time. I've been a bit of a little twerp all my life...