Daniel Sacroysky is an Argentine artist who has lived in Peru for 9 years and is back to music with his album “On my roof there are no airports”, a production inspired by the deepest emotions that life gives us, as he points out.
In an interview with La República, ‘Sacro’, as he is also known, tells us how this album was born and shares some details about his other areas of work, advertising and writing. In the latter he published “Forty Quarantine Tales”, a children’s book that came out at the end of 2020, in which the confinement is discussed from the perspective of the little ones.
You have just returned to the music scene with the album “On my roof there are no longer airports”. Tell us a little.
It’s an album that took me three years to make. With the pandemic I had to leave it completely and last year I was able to take it up again and finish it. It’s a more folk-oriented album, more acoustic with string instruments, more emotional, spiritual.
I had had other bands before, but they were on a different path, more rocker, more Latin; this one is much more relaxed and stripped back.
What does this production mean to you?
To return a little to a style of music that I always liked a lot, which are the most acoustic songs, more spiritual, deeper, not so rock-oriented; connect with a more sensitive side, where songs can tell deeper things. It has been a time when we have all asked ourselves things that we had not asked ourselves before, where we had more to do with deep emotions: the fear of death, the sadness for so many people who had a bad time.
I think the emotion was very close to the surface and all the songs are consistent with that emotion.
Why the name “There are no more airports on my roof”?
Basically, because the stage where everything happened was my terrace. So, I am lucky to have a terrace and, in these years of pandemic, it is where I have been the most. It’s like neutral territory, it’s where I felt most comfortable.
Well, the terrace can also be an airport, for better or for worse, but I like that the names are also open to interpretation. In my case it has to do with that, playing with the idea that it is the place where I get the most inspiration and where I was writing or playing, and even recording; I recorded one of the songs there.
“There are no airports” you have to do with a certain calm, with the idea that the head (which is a roof) is at peace.
What is it inspired by?
Let’s say, in what I call the yin yang of life, all the chiaroscuros, from what has to do with shadows and light. Being a father, love and heartbreak, life and death, all those comings and goings of life are there.
What does this album seek to convey?
I feel that it is a very toxic time, in many ways, and trying to contribute something that has to do with the emotional seems to me to be good.
Everything is toxic, even in music, when one sees that in the musical field the most viral thing is a guy insulting another in a song, as in the case of Residente. It’s great, but it’s a time to throw a more positive or more emotional vibe; I prefer to go that way.
Could it be said that this album has been like a therapy to cope with these situations?
Music is definitely therapeutic. Art always gives you that, connecting with deeper things and being able to bring out both the bad and the good, in an artistic and pleasant way.
You are a musician, publicist and also a writer…
Music is like the origin of everything. In my life it is the first thing I connected with. I started playing the guitar when I was 12 years old and I always liked it; I always had bands or played in bands; I always recorded, both in Buenos Aires and here (Peru).
That was the first thing, but I also always liked writing and, at a point when I had to choose what I’m going to live on, advertising opened up that game where everything is. You can write, you can surround yourself with people who have to do with art (photography, art direction, cinema). So, I always took it as if it had two facets: advertising, which I always liked —and in a way it went well for me—, but I never left aside everything else that is writing, making music.
There are two things that complete me: the first has to do with my livelihood and with the second I do not seek to earn money.
How do you keep up all these disciplines?
Basically, give me the time. I choose that my time always has to see beyond the personal and the intimate. I am working and in my free time I am related to the other, whether listening to music or reading or writing. I spend almost all my free time on it. It is a matter of managing time.
With this new work that you have launched, how has been the response of your followers?
Well. I am moving it from my platforms, which are not exclusively for music. There I upload small stories or phrases that synthesize some situation; and there I also put the music. In a way, the answer is good. I see that there are many people who liked it. I’m looking at how I can spread it a little more.
I’m going to make a video clip. I’ll probably do some live sessions and film them to close the cycle a bit, and, at some point, think about playing live.
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