We had the opportunity to talk with Luis – Moullinex – before the premiere of his new live show at Rock in Rio. A pleasant and informal conversation that gave us the opportunity to know more about the career of this already illustrious artist, mythical stories like is the “origin of the pineapple” and more. Everything to read here:
Wide Future [WF] – In Portugal, for us you are a seal of quality, you are one of the best exports that we have out.
MOULLINEX [M] – Thank you very much.
WF – When we think of Moullinex we always think of Take My Pain Away and Maniac, those two classics, that sometimes the artist tries to escape them but it’s impossible.
M – Oh I do not try to run away, I still like them! I am very pleased with what they brought me.
WF – Exactly, that’s a question I have for later. The question is, when you have two of those classics, does it make you think how you reinvent yourself to continue pulling that barrier, to keep on pulling and pulling for more?
M– I always reinvent myself, I always try to do different things and change the way I work. In the case of this new theme, Dream On, I completely changed my way of working, because I’m always going back, improving things, recording this, recording there, and here I did it linearly, without thinking and was what I really was feeling.
WF – Yes, because the story I read from your manager, about dream on, has a funny story because you basically did not have the time, it was on the train that you did it, which means there was not much to think about, it was that and was in the flow. And it went out to be one of the best songs that you released recently since the album, being the only one as well.
M – Yes, this theme was really what had to come out. And it’s going very well. People actually react emotionally to Take My Bread Away, it’s a fact, and Maniac, and also with Love Love Love, finally managed to have a theme that is almost reaching the streaming levels of Take My Bread Away, miss to overtake the Maniac, and so know that is also having this adherence … Of course I make music for me in the first place, but also do a lot of music for others and dance music is for others, is for dancing, and as such it is good to know that the way I like to make music relates to people and is well received.
WF – Exactly. Following that thought, I consider you an unusual artist. You are not an ordinary artist on the national scene.
M-There are more and more disco artists, to make dance music …
WF – Yes, and why do I say that? Because you do something that many artists do not do, even internationally, you do not stop at music, you have an extension in addition, as for example in the presentation of Hypersex, it was in the Maat, in the Museum of Architecture, that it’s not exactly related to music. Apart from your arts, which you do with consecrated artists, what is the reason why you do not stop at music and go beyond your art, almost as an extension of yourself?
M – Yes, I understand what you’re saying. For me, to admire an artist completely, it must indeed be someone who can think of his art, its various manifestations. To be something that inspires me, it has to be from someone who has a visual line, or from himself or who works with people who have a clear visual line, and it doesn’t need not be coherent, but clear, for example, which I am presenting it musically, it is visually illustrated in this way, videos, music, objects, communication, what you say, what you sing about, this is very important for me. And for me to feel complete as a musician, as a professional, it’s important to take care of all the components of what I do, whether it’s the show or the visual part of what I do, it’s important for me to be all in my hands and having a job independently, where we own the publisher itself, this allows us to do what we want.
WF –Once you mention that, the publisher, how does it work in Portugal, in a panorama that can be a little small, how do you survive, how does the publisher survive with the new talents, talents that are incredible, how do you survive?
M – The publisher as a business is not viable, because we do not intend to feed anyone with the publisher. It serves to materialize the ideas that we have, all the income that we have in the publisher is used to reinvest in our editions. Of course we have a totally transparent relationship with our artists, and they receive their dividends, but we as publishers want to reinvest in the artists and with that we can fulfill the dreams of all of us who are part of the publishing house. But by answering your specific question, we survived because Portugal is the 10th country on our list of streams. Luckily we have very large audiences like the United States, the United Kingdom, Mexico and even France that allow us to survive.
WF – It is good to know, mainly so that you can export your music and also our art, the Portuguese art.
M – Yes, and fortunately we are living a good moment when it comes to Portuguese music that is having a lot of echoes out there.
WF – Going back a bit to what we talk about art, you can unveil a bit of how your future live shows will be, so the public knows what they can count on?
M – So it’s a live concert but it’s designed to resemble a Dj Set, there are musicians playing the instruments, and they’re all playing live, but if we close our eyes we feel there are no stops, the energy is managed as if it was a dj set.
WF – So there are no stops and it is all continuous ..
M – Exactly. And since I have many guests in my songs I always had a problem, and this is more of a personal matter, of not liking to see a concert with guests singing on the disc and then not performing live. Unfortunately this has happened to artists that I like and I was a bit disappointed. So in those cases they have 14 “karaoke” to sing, and it’s not the originals that recorded the song, and that leaves me disappointed. They may even be incredible singers, but they are not the originals. And the voice is super emotional, it is impossible not to associate with the person who sang it. So for me, on the other hand, I also did not want to take a playback, because there is a voice in playback and the musicians playing instruments on the stage. So the way I got back to this was to pick up on the heritage of dance music culture, which are the drag shows and have a drag performer to embody different characters, to assume a playback, although he later in the concert sing, and sings very well, at first he does not sing, is assumed as a drag show, as a lipsync.
WF – That is something assumed, you are not fooling the public.
M – Of course. It is impossible for someone like Igor, the Getthoven, to have the voice of Marta Ren. So of course we are not trying to fool anyone, just as a drag show is not fooling anyone, it is already established that it is. And so I think the show has that different component. There is also a chroma (green screen) shot, which is projected into the visuals, and voila, you will be able to see.
WF – Speaking now of something different, an artist that I admire a lot, Xinobi, who I know is also a great friend of yours, how do you describe this friendship of best music friends and I calculate that it goes beyond that ..
M – Of course, we are bestman oh each other.
WF – Ah, it’s like family then.
M – Yes it’s a family, Bruno is that big brother figure that I do not have, it’s someone I use a lot because he’s a very thoughtful person and I’m more impulsive and I think we have this dynamics that doubles as a pair, and in fact we never bothered more than 10 seconds. We’ve been through so much together and we’re business partners and super-brothers, I think if there were reasons to get upset it could have happened a long time ago, it would not be now.
WF – And now the question that I had to ask, you probably answered several times, but I wish you were the one to respond to us and it’s a question that is also asked together with your twitter fans: It’s about the pineapple, can you explain the pineapple?
M – I can’t … I can’t for a simple reason. It is that the true explanation leaves us very ashamed. The pineapple is a kind of a mythological creature, and we want to keep the myth, we cannot deconstruct it.
WF – So a second question, which was also made on Twitter by someone, is what is your favorite city in Portugal? Because he has a bet and I want to know if he’s right or not. If you have one…
M – It’s Viseu! It’s mine. It’s my home.
WF – Well, he said Covilhã.
M – I love Covilhã, it’s incredible.
WF – He says it was a spectacle of yours, and apparently the pineapples sold out at the supermarket the day you played there. Everyone went to buy pineapples.
M -Yes. Oh but if you ask me one of my favorite places to play, it sure is The Company in Covilhã. An incredible disco with a high sound system, a great audience, and the organization too, and whenever I go I’m supposed to play three hours and I play eight. It’s really those places where you feel the energy to come and if you give it back, it does not stop, it’s a loop, it’s incredible.
We want to thanks to Luis – Moullinex – for his time and wish him an incredible future in his career.