Jorge Susanibar Milla He is 36 years old and five years ago he launched his solo project using his second surname. “Susanibar was too long for me and I pulled the Mile that was shorter and quicker to remember”, explained in an interview for La República. On March 4, she released her third album, “Eje”, a mixture of pop, rock and ballad.
Originally from Huacho and of separated parents, Jorge Milla expresses how this situation helped him discover “totally different music textures.”
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What were your first musical influences?
I always lived with my mother, Miriam Milla. She listened to music from Chabuca Granda at noon while we had lunch. For my grandfather, Marcelo Milla, it was The Sonora Matancera, Armando Manzanero’s boleros, all those songs that are very representative for America in its musical history. At my dad’s house, it was more rock: AC/DC, The Beatles, bee gees.
When I came to Lima with my uncle Elmer, I listened to Chacalón, that much harder, purer cumbia. In my generation, pop ballad radios were in fashion, they were the boom. Already when I got fully into being a singer-songwriter I discovered much more sophisticated things within the lyrics, the sound, such as trova.
When I started I didn’t think I could dedicate myself to making songs or albums. It all started like this, testing.
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How has Lima received your music?
In the capital he has more opportunities to play. The public is more open towards their own music. For any musician who does something of their own it is quite difficult. There is no diffusion with the new music that is made and that is like a cross that we have to download.
It’s not just the type of music you make, it’s also the lyrics and what you say, the message and the total discourse. I think that the song is a fundamental tool for society.
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They are all your compositions. Don’t you do covers?
I have been composing since I was 17 years old. She did it for me. I always liked to play the guitar and sometimes my friends told me: “Hey, how beautiful what you do”. It’s different when an audience that doesn’t know you tells you “I like such a song of yours”.
Most of the ways to make your own music are covers first. But I didn’t want to do that, I wanted to launch myself with the music that I had. I would have to study the cover, make a version that doesn’t dirty what’s already been done. The public already has such a song engraved within their DNA. There’s a complication there that I don’t want to get into.
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What was the first song you wrote?
Is named “I don’t want to see you suffer”. She lived in Lima, I came to see her. We were two very rebellious people. She suffered a lot from problems that she had at home. So, I wrote that song for her, where she was musically telling him “I don’t want you to suffer”. Then we’re done. I returned to Huacho, she went to Spain. She always told me: “You are going to be a singer-songwriter”. Unfortunately, she passed away.
So the song took another form when he left. I had a bad time, but I kept going. She was 24 years old and had written twenty songs and I said: why don’t I record them? I recorded a first song, “What you give me”, and the second was the first one I wrote for her, “I don’t want to see you suffer”.
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You just released your third album, “Eje”
What this album does is invite you to recognize what your axis of life is, what moves you, where you are turning, since we live inside a planet that revolves around the sun, our star, and in turn it rotates throughout the galaxy.
Apart from the sound of the winds, it has a sound of synthesizers, which appear and disappear at times. It gives you the feeling that you are spinning. In the audible theme, the arrangements have galactic, spatial sounds that invite you to relax, if you connect. And also for the stories, which are circular. I think we are actors of the same stories, but in different contexts. That is why it is circular, because we are circulating in the same story, but at different points.
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“Axis” has very moving titles, such as “My superhero the hug”
It is a theme that invites and claims the embrace. Sometimes we have so many problems with someone we love very much and with that simple gesture we can solve everything. Also when complicated situations arise like on this album, a hug from my younger brother telling me “calm down, you’re doing well” is a savior.
The hug is that: two people who hug and save each other, to rediscover that main axis and be able to turn within an embrace.
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Another title is “My winds are going to protect you”
That song has a very study and social metaphor. This is the first album where I have been able to record with wind sounds: trumpet, trombone and saxophone. When we recorded this song, I told the wind musicians: “You who have worked all your life with your winds, it fits well with what you are going to do, because thanks to your winds you have been able to bring food for your families, emerge, traveling, giving us music, are a fundamental piece”. The musicians behind an artist are fundamental pieces.
I don’t feel comfortable talking about this project on my own. I always say “thank you for listening to us” because they are there too.
And since it’s the first time we’ve worked with wind sounds, that’s where I put the metaphor to the musicians, and it’s also like a fairy tale metaphor, like two people who hug each other and feel the air pass by. I want to protect you so much that I own the air that surrounds you, I generate an air that protects you.
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What has the Huacho boardwalk meant for your creative process?
He has given me almost all the songs. Too bad the authorities have very forgotten. Beyond that, I think it’s because of the connection with the sea, the smell, the breeze.
In your compositions you resort to love and lack of love as the main theme
I, who is over 30, experienced a heartbreak totally different from what 20-year-olds are experiencing. Love and heartbreak are social issues. That’s why sometimes we see people with low-class love. A love like a possession, as if you had bought yourself something. That shouldn’t exist anymore.
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In “I no longer wait for you” you talk about heartbreak
I tell someone: “You don’t know what you want. One day you love me, another day you don’t. So, the song turns around and says that I suffer, but in the final part it has another twist, where she asks a question: who is the one who loses the most? You say it or better that the time says it”.
Heartbreak songs can remind you of what you’re going through, but they also have a reflective side. Because heartbreak is a path that we all have to go through. It is unavoidable.
I couldn’t make the album “Lo que tú me das” from 2015, because it was another Jorge, younger, with different experiences. From here I will make a fourth album, and as “Eje” I will not be able to do it. They are paintings that you paint and hang, and you turn to see it and realize that you were that. In music it is the same, the songs are not finished, they are abandoned.
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At the insistence of your friend Jard, another interesting musician, you launched the podcast “Let’s talk about songs” on YouTube, a name inspired by “Speaking balls”, by Ricardo Mendoza and Jorge Luna.
I do it because it is a way of developing myself through a camera. But the visions of other musicians, singer-songwriters They help me a lot to grow and define what the song is, this sound miracle that accompanies us when we have to rest, when we feel bad, when we want to dance, travel, make love.
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