Iyari | Interview | “The Dialogue With Oneself Through The Guitar”
The music of Iyari is an exploration between the conscience and the dream. A delicate, meditative and peaceful view where the resonance and the depth gets a real shape and a concrete vibe.
The dialogue with oneself through the guitar and pedals draws a sound for a beautiful landscape. Josep Mateo creates under the moniker of Iyari for quite some time. The release of ‘Hozro’ first caught my attention. The second part of ‘Hozro’ entitled ‘Ayni’ was released April 26, 2021 and includes collaboration with artists like Sula Bassana, Cotton Casino, Jad Fair, Mark Cunningham, and many others.
“Improvisation is the key to get a good song”
Your music is really hard to describe, but before we get to all of that, I was wondering if you would like to talk a bit about your background?
Josep Mateo: I started to play in bands in the mid 90’s. I never wanted to be in a band that was only defined to one style because I really love many different kinds of music and for me it’s necessary to find new paths. I have been in many projects through the years: metal, alternative rock, trip-rock, experimental… None of those projects have ever been a great success but I’m really thankful for all I have learnt playing with the other musicians.
What are some of the main influences when it comes to music and what’s the usual songwriting process?
There are some references that are part of you and always are there when you create, like: Jimi Hendrix, Black Sabbath, Pink Floyd, Led Zeppelin, The Velvet Underground, The Beatles, Hawkwind, The Doors… and I really feel very close to all the great bands and artists that came from the late eighties/early nineties: Soundgarden, Kyuss, Jeff Buckley, Monster Magnet, Alice in Chains, Screaming Trees, Jane’s Addiction, Nine Inch Nails, Massive Attack, Melvins, Smashing Pumpkins, Tool and many more.
As for composing, this is a question I have asked myself very often and I finally think that improvisation is the key to get a good song. If you sit down and force yourself to create one song, probably you will, but it won’t be the same as if you just start to play in your room and just forget about everything. There is a point where connection comes and you surprise yourself with what you can create.
“Some would call it lo-fi or experimental, I call it real”
I was introduced to your music via the release of ‘Hozro’, but you already self- released quite a couple of albums. How would you describe those early albums?
When I started “Iyari” I had in mind the goal of creating music with just one guitar track, no overdubs, no punch-in, no post production. Through the years I’ve learnt that you can say more things with a few notes that comes from the soul than to try to be the fastest and most technical guitar player. So this is what I did on the first three records ‘Sura’, ‘Sons de tardor’ and ‘Ostara’ (‘Ostara’ was also recorded live, but using a loop pedal), Just sit down and play. Recording everything, including mistakes, noises… some would call it lo-fi or experimental, I call it real.
It seems to me that you opened a new chapter with the release of ‘Hozro’?
Yes, you are right. After the release of ‘Ephire’ (Submarine Broadcasting Co. 2019) there was a point where I didn’t want to get back to and I felt that I needed to find new paths and sounds for the next Iyari records. I planned ‘Hozro’ and ‘Ayni’ like two concept records with many collaborations from musicians I admire and friends, and I feel very happy with the result.
What’s the concept behind it and can you share some further details how it was recorded?
The word “Hozro” is from the Native American tribe Navajos. “Hozro” means (to me) to live feeling part of the beauty of the creation, the perfected pattern of creation on everything we can find, including all the people (it’s not easy sometimes…), that’s the feeling I wanted to spread with this record.
The recording was done during the first months of 2020 going through all the madness we all were into. I must confess it was a necessary way to escape from lockdown, to create something beyond doors, to focus on recording and sending files to other musicians, so it finally became a way to escape after all.
… and there’s a continuation?
Yes, here we have ‘Ayni’. ‘Ayni’ is the continuation of ‘Hozro’. I would have liked to make a double album but it wasn’t possible, maybe in the future. There are even more collaborators on ‘Ayni’ and it has become the record where I least play guitar, haha. But it’s perfect to me, because all the musicians who have worked with me on this record take the songs somewhere I could never have reached by myself, so this is what it makes it great.
You managed to collaborate with Sula Bassana, Cotton Casino, Jad Fair, Mark Cunningham, and many others. Do tell us more about it.
Yes, I feel very lucky about it. On ‘Hozro’ I collaborated with Lakami, Mario Lalli, Emiko Ota, Nate Hall, Aya Ogawa and Manducator. On ‘Ayni’ the list grew with: Lluís Paloma, Jaime L. Pantaleón, Sula Bassana, Mark Cunningham, Jad Fair, Chris Eckman, Broke Lord, Colin Powell, Martin Neuhold, Cotton Casino and Bill Turney.
All I can say about all those great musicians is that they just took care of the music, never asked about how famous I was or any question related to money or budget at all. They just listened to my music and decided they wanted to collaborate with me, and I feel lucky about that. That’s the real success, connecting with people who just cares about art and creation.
Do you have any active side-projects going on at this point?
Right now I have finished the first record by my instrumental rock project “Dharvol“. It has several influences from stoner, post rock, psychedelic rock… the record will be released within the next months. I also play guitar on Kartar Atma, and I’m starting to record and produce Lakami’s first album.
Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?
Beginning with classics, many records that changed my life somehow when I first listened. These are just what I remember right now. There are many others.
The Beatles ‘White Album’, Lou Reed ‘Rock ‘n’ Roll Animal’, Iron Maiden ‘Killers’, Jane’s Addiction ‘Ritual de lo habitual’, Pink Floyd ‘The Dark Side of the Moon’, Jimi Hendrix Experience ‘Electric Ladyland’, Jeff Buckley ‘Grace’, Soundgarden ‘Badmotorfinger’, Smashing Pumpkins ‘Siamese Dream’, Nick Cave & The Bad Seeds ‘Let Love In’, Black Sabbath ‘Paranoid’… I could be a few days writing…
New discovery; I have listened Daliborovo Granje, an instrumental band from Croatia that really has a personal and powerful sound.
Thank you. Last word is yours.
I want to thank you for giving me the chance to share my music and thoughts on your magazine, a big reference for all of us who love psychedelic music. Future belongs to all the true projects made with soul: blogs, records, labels, festivals… Whatever that comes from the heart, keep on supporting each others. Best wishes to all of you.
Klemen Breznikar
Iyari Official Website / Facebook / Instagram / Bandcamp
Submarine Broadcasting Company Official Website / Facebook / Instagram / Twitter / Bandcamp
