With the brand new release of his second album, “Bien o mal”, the Argentine rapper Trueno transits the duality between those states that mark the pulse of his new work and raises his voice and tone as “spokesman of a new generation” that “organize and fight” .
With his feet planted in the neighborhood of La Boca but with his eyes looking at the Latin American landscape, Mateo Palacios Corazzina, this 20-year-old rapper who jumped from the Freestyle competitions in the Buenos Aires squares to the stages and recordings since his first album called “Atrevido”, continues with the cultural legacy of a neighborhood “sweet but murderous, of artists and thugs” where “a Thunder was born, between flowers and rains of poison” as his father Pedro Peligro declaims in “Hoop Hoop”, the song that opens the repertoire.
In a chat with Télam, the protagonist spoke about this new musical stage that opens “Good or bad”, where there are some collaborations already known by the public such as those of Duki (“Panamá”), Bizarrap & Randy (“Jungle”) and other unpublished until today such as the ones he made with Nathy Peluso in “Argentyina”, with Victor Heredia in “Tierra Zanta”, and two more that will be revealed in the coming months with collaborators who will confirm “the passage of Argentine music in the world” .
“The previous one had a super digital and dirty sound, a neighborhood sound, with a fake microphone. I think it was the consolidation of my identity. In the battles they already knew that I was Pedro’s son, that I was in La Boca and that I had grown up with Comuna 4. If you want to know who I am, all you have to do is listen to ‘Atrevido’ because the answers are there about who I am, what I think, Where do I come from and how did I grow up?
For Trueno, this new album represents “the next step” after a time where he still alternated between battles and stages: “I am no longer the freestyler, the one who fought, the competitor. I am an Argentine musician and a spokesperson for the new generation”, added the former national champion of Red Bull Batalla and FMS Argentina, today consolidated as a local hip-hop artist capable of mixing with other urban genres such as trap or reggaeton. , although without losing loyalty to a culture that he promised to uphold until the last day.
“The duality of the album arose when we got to the middle of the recording, because the message had come out that way, with themes that go both for one concept and for the other. It starts from the side of evil, with the need to shout, make noise and try to generate change through struggle and together with all the people behind us who are the youth of our country. And with them we also reach the celebration. It’s about protesting and fighting, and then celebrating that we made it,” he added.
Télam: What paradigms are you looking to break now with this new work, which brings songs like “Fuck the policeman” that bring a nod to the NWA classic?
Trueno: Music is our means of expression, our means of protest and fun at the same time. It is our means of communication in this society to say what we want and the way we want. And so we are going to continue doing it, whoever likes it, because there are many realities and injustices for which we suffer, cry, celebrate, shout and jump.
T: When did you start to feel that you had the role of “spokesperson” within your neighborhood?
T: I realized the weight that the message we are giving has, what we are saying and everything that our art entails after releasing the first album “Atrevido”, and after La Boca bowed to us, told us thank you for this, thanks for the other, for naming the kids and for the song “Blue and Gold”. It was there that we began to realize that what was happening to me was also happening to a lot of other people, and that my music could also be a means for those who feel and live the same to express themselves. And not only those in the neighborhood of La Boca, which is where I speak from, where I was raised and nurtured, the neighborhood where I was born. The world is full of neighborhoods with people who identify in their own way with what we have. This new album takes that notion of the message that we are giving, not only about the neighborhood of La Boca but from Argentina to Latin America and the rest of the world, without borders, or communes, or anything. Because first we are Latin Americans and then we are from this part of southern Latin America that is Argentina.
T: The songs on “Bien o mal” have a lot of power and rawness. Was it important for you to leave a record of this generational voice for posterity?
T: Exactly. And say “if I think this, why shouldn’t I say it?” I’m going to have people with me, people who aren’t with me, I’m going to have problems and consequences, but if not, why did we come? To comply with the rules as they want us to do? No, we are the rules, we decide what to say, when to say it and why to say it.
T: Do you expect any attack for vindicating the figure of Santiago Maldonado, the slogans of Memory, Truth and Justice and condemning police repression?
T: They are my favorite enemies, because they are exactly the people I don’t want to be friends with. So we are happy. And it is great that there is a song like “Tierra Zanta” that talks about the dictatorship that we are not going to allow to happen anymore. As much as the police want to catch us, disappear or kidnap us, let them do what they want, the music speaks for us In addition, Víctor Heredia sings, who is a person who suffered the dictatorship to the surface. He is a true spokesman for a generation that suffered much more than mine. Thanks to people like him, Mercedes Sosa, rock and folklore Argentine, today we feel safe to say what we want. If they had kept quiet, the government and the military would have won with silence and power. But today we have power in music, which is a vibration of the world, that without it it would be a depression. People talk, protest, spit and win through music. And they can’t do anything to us, because freedom of expression will always exist.
T: Among the collaborations that are revealed with the release of the album is the one you did with Nathy Peluso (“Argentina”) with two very different perspectives on Argentine identity.
T: I think it was the only song I did from a distance. We did it with Fede Vindver, an Argentine producer who lives in the United States, a ‘king’ of music production who worked with Kanye West and Dr. Dre. We did it to connect with the Anglo and with the Argentines who are abroad. I feel that Nathy gave the song another color based on what was happening to her with the country because she had to emigrate during the 2001 crisis. I told her that it was her space and that she should do what she wanted. She wrote her parts and sent me a bunch of stuff. She gave him sweetness and nostalgia, because she lives in Spain and comes every once in a while, while I appealed to my most rebellious side for living here, breastfeeding her and walking the street every day.
T: It’s an album where your family was very present and it’s precisely your father Pedro Peligro who opens the album as the guest voice of “Hoop Hoop”, where he praises you.
T: There is also my mother who contributed some choirs like in “Tierra Zanta” and who was super important, as well as my aunt who plays the bass. I still have more relatives left to include in the next albums, but on this album I had to be Pedro, who is part of all my shows just like I was in his. I told him to write a letter for the album and he took this one that I recorded in quarantine with a studio that we put together with what we could. He is my “coach”, he was my coach throughout my life, he taught me many things that I know. Before we played together for 15 people and now we play for 50,000, and we are still together on stage. The message that I carry has a lot of influence from Comuna 4, who sang against Mauricio Macri in 2006 when he was the president of Boca Juniors. It was a very conscious message, which came out of the protest, but without telling anyone to go to hell. We were just talking about what was happening to us.