BUBU: George Rossolatos interview with Daniel Andreoli

 BUBU: George Rossolatos interview with Daniel Andreoli 

GR: In many respects, Bubu may and have been described as an ‘oddball’ in the 70’s Argentinean scene that was dominated by the highly politicized ‘rock nacional’. Not only does it differ from the ‘rock’ oriented bands (e.g. Spinetta’s offshoots), in terms of musical and lyrical orientation, but Bubu also deviates from the more stereotypically symphonic exponents, such as Crucis and labelmates Alas. Stylistically, Bubu lies much closer to Italian prog bands that combined neo-classical patterns with avant-garde touches. Were you familiar with the Italian scene at the time you composed Anabelas? If yes, which bands would you consider as influential?

DA: As you explain stylistically well, Bubu is much closer to the Italian progressive bands that combined neo-classical patterns with avant-garde touches. However, to be honest I didn´t have access to that material until the advent of the Internet, thirty years later. In addition, I spent one month in Milan in the 80´s, while traveling throughout Europe, at the home of some musicians and we seemed to know each other for a lifetime. I had a copy of the just released Anabelas album with me which they thought was amazing.

GR: While reading Bubu’s imagery in contrast with politicized bands of the same period, it appears that you pursue a more purist path as regards artistic freedom and expression, a path that remains indifferent to cultural politics.  Your artistic vision is rooted more in the order of the imaginary, rather than the symbolic and its striated political oppositions. Did this approach thwart you from becoming as acclaimed as other, perhaps more politicized bands?

DA: Music and art in general have always been for me like oxygen for organic life. For that reason, I keep it out of political oppositions, despite the fact that this approach has prevented me from becoming as acclaimed as other bands, perhaps more politicized.

GR: The band name Bubu flirts with the carnivalesque, precisely in an attempt to carve a unique line of flight, dislocated from cultural politics. Bubu’s visioscape features a doll, as an integral part of the band’s visioscape, a much used gimmick in the popular culture imaginary, inasmuch as across musical genres, from Iron Maiden’s Eddie to Semiramis’ hanging doll. Tell us a bit more about your doll, Bubu, why and how it became the group’s mascot. Does the visual antithesis on the cover of Anabelas between Bubu and the group of angry old men in formal attire suggest rhetorically some sort of contempt for social groups that might wish to contain your artistic imaginary?

DA (Text by Win Forstmann): The story takes place in the 19th century. The King and the Little Princess visit an American country. A great reception and gifts have been prepared for the Royal family, but they couldn´t agree on the gift of the little princess. After extensive debates and tenders, they decide on a rubber doll with the appearance of a baby with a steel frame, 132 meters high. When the kings arrive, the doll, erected in the port, is discovered in full view of the attendees. Among them there is a large number of children who, including the Little Princess, begin to cry, while the older ones fearfully notice that a tear runs down the doll's cheek. As the years go by, everyone forgets about this incident, as society goes through sweeping changes (industrialization, environmental pollution). One day, the doll appears to be suffering from schizophrenia, while playing with ships in the sea and sinking them. The doll is declared public enemy number one, but it is invincible. Luckily, for the government, the doll discovers in a forest nearby an old man who plays an instrument whose music it really likes. When the old man dies, they send substitutes to the doll, with a note saying that it should not have to worry again. The doll destroys the substitutes because it is the music it really wants. Bubu, who rescued the old man's music, now plays it to protect the city.

 

Regarding the group of angry old men in suits behind the hallucinogenic mushrooms, I can say little since the time we were able to enjoy the company of Carlos Fernandez (Tirito), illustrator of the cover art, was very short. Unfortunately, like so many others, he disappeared in that damned time of dictatorship and I don't know what was in his imagination about it.

GR: Is Anabelas an ever evolving allegory? What are the main messages that permeate its narrative and how are they anchored and transmogrified in the album’s musical syntax?

DA: Anabelas is a totalizing vision of the universe, an unknown teaching that returns, a rebellion of angels of good that seek to demolish a monotonous and arid landscape of sounds that escapes empty to the rise of anything.

GR: Bubu will soon re-enter the studio. Can you share with us information about your new compositions? Any new styles you might be keen on integrating in your compositional armory?

DA: Pursuant to the forthcoming reissue of Anabelas, I intend to enter the studio and record a new album. The material still originates from the depths of my soul. I feel that this time round I need to get involved in contemporary cultural politics, to support the movements that have their roots in this beloved city (tangos), and in the struggles of the natives that need to be heard throughout the great South-American Homeland.