{"id":5671,"date":"2021-02-18T23:15:35","date_gmt":"2021-02-18T21:15:35","guid":{"rendered":"https:\/\/newedgemagazine.com\/?p=5671"},"modified":"2021-02-23T00:47:49","modified_gmt":"2021-02-22T22:47:49","slug":"vazz","status":"publish","type":"post","link":"https:\/\/newedgemagazine.com\/index.php\/vazz\/","title":{"rendered":"VAZZ"},"content":{"rendered":"

Marc Jacob Cavazza, performing under the name Vazz<\/a>, is a young artist based in Ljubljana, Slovenia, with a deep appreciation for art and culture that stems from something deep within his soul. He found his voice in rap, contributing to the local scene with two albums, a number of live gigs and artistic music videos. His songs are a blend of old school and modern, experimental sounds with lyrics that tell stories – of personal demons, comments on the current political climate, memories of childhood,\u00a0 and self-confession. We discussed his songwriting process, his take on the Slovenian cultural and art space, and utopic dreams of a Woodstock-like festival once the pandemic ends.\u00a0<\/em><\/p>\n

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Where does your interest in music come from and how long have you been writing songs for? What drew you to songwriting, was it musical school or something else?<\/strong><\/p>\n

I don’t know exactly when it started because I’ve loved singing since I was little, played the guitar and then jumped into rap… I wrote my first piece in the eighth grade of elementary school, did poetry at school, maybe a couple of verses for a girlfriend, that kind of romantic stuff. I was always honest in my writing. But it wasn’t until later in high school that I started writing lyrics a bit more seriously, even going as far as to write down what was going on in my head. The more I wrote, the more material accumulated, and I had all these notebooks full of poetry. I delved into it, into what I wanted to write, and how much of myself I could put into my writing, in what way. I don’t think too much, I let my thoughts spill, and it’s a really therapeutic moment. I put everything on a piece of paper, all my internal struggles and things I wouldn’t otherwise share with anyone. But a blank page is so open and accepting, without prejudices. Now I write everything, not just rap. A diary, literature for myself, a bit of poetry… I like to write, I really found myself in that. Music is something completely different. I’m in love with it. I went back to playing the guitar, but I also like electronics. I’ve been in love with good parties for the past three years. The electronic community fascinates me. When people come to dance just for the sake of dancing, just for the music, nothing else matters. You’re just there, and your eyes are closed for eight hours, and the music touches you in a completely different way. People get together, relax, dance and push all their thoughts to the side. They’re there because of the music and let a wave of energy wash over them. This happens every time, either in electronics or in jazz. The body reacts differently to different genres. Jazz opens me up, and it feels sentimental. I can’t be still when I listen to electronics, and with rap, I’m focused on the beat and the lyrics, and a good song shoots through my heart. I think it’s the essence of music to unite. If you push everything aside, all the ego and everything that exists in the world that we burden ourselves with, and you put together only music and people, there is so much energy and love in the air – you truly can’t experience that anywhere else.<\/p>\n

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If you were to take on any genre other than rap, what kind of music would you do?<\/strong><\/p>\n

Singer-songwriter. I went back to the guitar, which was how I’d started out in music school, but at the time, I wasn’t mature enough for this instrument. Now I take it in my hands on my own and practice for several hours… Rap is currently ‘on hold’ for a bit. The last song I made was ‘Kaktus’<\/a>\u00a0because I needed to get that out of my system. It was exactly the feeling I had back in summer: that no one was listening, no one knows what we’re feeling, everyone just wants more and more, new albums, a picture, I don’t know what. No one asks you what’s going on, are you okay, let’s get a coffee, something purely human. Everyone is so impersonal, especially in these times and with the politics that we have. So I’m going back to the guitar, poetry… But maybe I’ll save singer-songwriter for later when I’m older.<\/p>\n

What’s your songwriting process like? Is it different for each song and where do you get most of your inspiration from?<\/strong><\/p>\n

Each song is definitely different. If we’re talking about rap, I get a beat or instrumental basis from one of the producers I work with. They create a variety of instrumentals every day, and the vast majority has a good ear for who would go well with a certain sound, so they then send them out. And then I just write when the lyrics come – and you never know when that will be.<\/p>\n

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Is it ever the other way around, that you have the lyrics first and a\u00a0 beat stuck in your head and ask if that could be done?\u00a0<\/strong><\/p>\n

In the beginning, I only had lyrics, notebooks full of them, and I was looking for beats, thinking about where I could put my texts. Once you start working, you see that there are so many beats out there. Not all of them are good, but it’s so much better to write the lyrics over a beat. It’s easier because of the flow, the phonetics and the rhetoric. It blends better. If I’m listening to a beat I go over the flow first, trying out the speed, the syllables, not yet the lyrics. When I see that I’m cool with the beat and I find a flow, I start writing. I freestyle, and I don’t think about it much. If I’m really into it and the beat ‘hits’ me, it goes pretty fast, and it’s easy. I follow my intuition. I don’t know if that’s a good thing, but for now, it’s paid off. I let the first idea flow over me and see what can be done in that direction. Not everything works, but usually, the first idea performs pretty well. Later, I might change something because of the flow, the pronunciation. I also know that when I record, I want it to be as good as possible, so it’s easier to perform. I also have some topics that I would like to write about, and I have them written down somewhere, or they’re stuck in my head, but they might go over the next beat I get. Once you’re comfortable, the rhyme isn’t too hard to find. I search for the rhymes deeper and deeper, but in the end, they seem to find themselves, which is the most beautiful part of the process for me – when you connect the story into a whole. I know what I want to say, I start a sentence, and I don’t think about the rhyme. In the end, it connects ingeniously with something that also flows with the thought. The important thing is that these thoughts have some weight to them. That you express something important, something that’s yours, and that it reflects some point of view or time in which you live. At the end of the day, the message is more important than the rhyme itself.<\/p>\n

Hip-hop and rap are reflections of the streets and life itself, how did you find yourself in this genre?<\/strong><\/p>\n

It hits me. When I put on my headphones and hear that someone took the words off my tongue or that they’re thinking in the same way as me, I find myself in this music immediately. Rap is therapeutic. To hear someone say something in a way that you understand… You no longer feel alone. ‘Wow, I’m obviously not the only one thinking about this.’ There’s a security that lies in this genre when you see someone feels the same way you do, and they dare say it out loud. I think we artists are here to express all of this for others, so they can find themselves in our art. We may be representing a voice that not everyone dares to express, but many identify with.<\/p>\n

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How hard is it for you to be personal with your lyrics? Once you put something out there and other people listen to it, they can interpret it in their own way, not the way you imagined. How do you create this distance so that once you make your work public, it’s no longer yours but up for the public’s interpretation?\u00a0<\/strong><\/p>\n

‘Kaktus’<\/a> touches upon this to a certain degree. At some point, I have to distance myself because otherwise, I could just worry all the time. Some things are hard to write about. In my songs, I deal with topics that range from drugs, sex, my private life, family, my view of the world. When they come out, everyone can interpret them in their own way. Poetry is very helpful in this regard. You can be subtle and wrap things up in metaphors. I do the same with alter-egos. I’ve always had this idea that it’s not all me, that these are my alter-egos through which I express myself. It’s the ‘Pankrt’ in me, the ‘Playboy’ in me, but they’re all bits of me that I’ve cleared out of my system. They are, however, expressed from the point of view of a fictitious person. It doesn’t make sense for me to explain the lyrics to someone, or to explain every detail of the song. You have to hear that for yourself. The first time you hear a song, it might go past you, and the second time you read the lyrics you notice something you hadn’t before; the third time you may understand a new metaphor. But only the poet knows everything. That’s why Pre\u0161eren has always been so interesting to me. In school, we learn how to interpret individual works, but only he knows how he imagined everything, the thoughts he had, what he experienced at that moment. Thank God we’re different, and each of us accepts emotionally perceptible things in our own way. It saves me that no one really knows what I got out of my system, what I felt at the time, what I was getting rid of when writing that piece. However, it is difficult, especially with some heavier topics, because of the exposure. You expose yourself, you trust your listeners, and it’s as if you’re putting your story in the hands of thousands of people. And maybe none of them will hear or listen to it the way I would like them to. And I don’t know if all of them want to hear it, some would just like to listen to music. I wonder sometimes if I’m too personal and recently came to the conclusion that I don’t have this filter yet. I express everything that weighs on me. I still have enough distance that I know where the limits are, in what way I write about things. But when I need to get something off my chest, there’s no limit – it’s the brightest and the darkest things, but it’s up to me. Music and poetry are the media through which I choose to express myself.<\/p>\n

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How does Slovenian music or Slovenian rap affect what you create now? How many times does it happen that you hear an older song and you want to bring that essence back?<\/strong><\/p>\n

There’s a lot of that. And even the younger artists – I’m a big fan of the Slovenian scene. If it’s possible, I’m front row at all the concerts, or I’m somewhere in the back, but I’m there. Slovenian music inspires me,\u00a0<\/span>MRFY<\/span><\/a>\u00a0are crazy to me. I’m like a thirteen-year-old fan. Koala Voice too, as well as the more experienced artists, I exchanged records with Dan D for example. I grew up with this music, and it gives me a lot of drive, inspiration and insight into what kind of art scene we have. It’s so open, warm and connected. I also feel a huge amount of lost, non-existent nostalgia, which I couldn’t possibly have, but I’m 60 years old at heart. I’m always looking for something alternative; I’m not interested in what has already been heard. There’s a lot of music out there right now that’s just a bad copy of something that already exists – no judgement, you do you, but I’m looking for a new sound. I’m interested in something I haven’t heard anywhere yet. More audacity, more of yourself, more personality – this art is so beautiful, organic, distorted, that’s where the beauty lies. Today there’s too much make-up, too much digital; today there’s no scratching of vinyl, no scratching of a needle. Music has to be made not because it’s popular to make music right now, but because you feel you have to do it. There must be a lever somewhere, a motive for creating a work of art – I have something to say, can I say it? Be it through a sound or a lyric, whichever.<\/span><\/p>\n

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How important do you find the visual image of a song, ie. the music video?\u00a0<\/strong><\/p>\n

That’s where I’d maybe like to have a breakthrough. I like seeing when a serious music video comes out on our scene. I put a lot of weight on the visual, and I support making good music videos. But it’s not so much on me as the songwriter. My 100% goes into the lyrics, and the video maker put their 100% into the visual,\u00a0<\/span>Hyu<\/span><\/a>\u00a0his 100% into the beat. Every music video we’ve put out so far has been the visual image I’d want. We shot the video for ‘Playboy<\/a>‘ with Ur\u0161a Premik, and it was a cool project, friendly collaboration. We filmed it so spontaneously, and the result is crazy. I’m really lucky.<\/span><\/p>\n

Speaking of ‘Playboy<\/a>‘, you collaborated with Petja Zorec, who presented her new collection in the music video, which premiered at the Ljubljana Fashion Week, Ur\u0161a Premik, who is an excellent photographer and this was her first music video, and Inja Zalta, who is an artist… How important is connecting different branches of art to you, the way you guys did? And if you could work with anyone else on any project, who would it be?<\/strong><\/p>\n

It’s so important. That’s the point of it all that we come together. It was crazy to me. We just hung out in the summer and vibed as friends, Petja approached me, and I tried on the new collection. We came up with the idea to present it that way. We were all for it, and we knew it was a project we had to do and when I look back on it… Hats off to the girls, also Tina (Novak), who directed and edited the video. As far as who I’d like to collaborate with… MRFY, and maybe visually with Kukla<\/a>.<\/p>\n

What is, in your opinion, something that the Slovenian cultural and artistic space currently lacks?\u00a0<\/strong><\/p>\n

Respect. From the politicians. We have so much potential… We are born from culture. Look at how many poets came before us, the architecture, Ple\u010dnik, even athletes! We are so good, and there is no support form ‘above’ – that’s the one thing that hurts me because the art community is so open and loving on the inside. I wouldn’t change anything on that level, but I would on the one ‘above’ us. More resources and more respect for other people, more opportunities for art and culture, more education in that direction. We all carry this artistic child within us, and the more life shapes us, the more it dissipates. It needs to be nurtured so that this childish inspiration doesn’t get lost.<\/p>\n

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What has been your favorite moment of your career so far and which piece do you like to perform live the most?\u00a0<\/strong><\/p>\n

Every gig is better than the one before it, so my favorite moment would be the last gig we did in Gala Hala. When it comes to gigs, I give it my all. We played the double bass, classical guitar, and we performed Individuum unplugged. Gaj\u0161t was a guest on ‘Pankrt’ playing the trumpet, and we had a live band and a DJ… Gala Hala was crazy. The song I love to perform live is definitely ‘Sekunde’. It’s completely unplugged, it’s nice and calm, and I like how we did it with the band. The arrangement is completely different.<\/p>\n

What are you looking forward to the most when quarantine’s over? And what are your plans for the future?<\/strong><\/p>\n

The gigs, I’m excited about the gigs. Raves, concerts, hippies, revolution. I imagine that when this ends, it has to go down in history. I’d do a five-day festival in Tivoli, the way they did Woodstock. But yeah, the first normal concert that I get to play. I live for that day because I know that we’re completely prepared for it. We had a tour planned for Slovenia just as the first lockdown started, so we’d really studied and practised everything before that, and we have a repertoire for an hour and a half. In the future, I intend to focus on my studies and remain free as an artist, strive to work for the people and the culture, hang out with co-creators. Create quality art and share this knowledge that I have, that I’ve gained over the years and that I’ll gain in the future. I think it’s my mission to spread pay it forward.<\/p>\n

You can find Vazz on Instagram @youngpreseren,<\/a>\u00a0Facebook<\/a>, YouTube<\/a>, or stream his music on Bandcamp<\/a>, Soundcloud<\/a>, Spotify<\/a> or Apple Music<\/a>.\u00a0<\/em><\/p>\n

Photo credits: Ur\u0161a Premik<\/a>, Al Nini\u010d \u010ceak<\/a><\/em><\/p>\n

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SLO:<\/strong><\/p>\n

Od kdaj in kje tvoje zanimanje za glasbo in koliko \u010dasa \u017ee pi\u0161e\u0161 komade? Kaj te je potegnilo v to, da si za\u010del pisat komade, glasbena \u0161ola ali kaj drugega? <\/strong><\/p>\n

Od kdaj, ne vem to\u010dno, ker od malih nog rad pojem, igral sem kitaro in potem malo bolj sko\u010dil v rap vode\u2026 Po mojem za\u010detki glasbene \u0161ole, ko sem se sre\u010dal s kitaro, prvi komad sem pa napisal nekje v osmem razredu osnovne \u0161ole. V \u0161oli sem pisal poezijo, ali pa kaj za punco, tak\u0161na romanti\u010dna poezija. Saj je bilo iskreno, potem sem pa v gimnaziji za\u010del malo bolj na ‘ornk’ pisat tekste, tudi kar sem sam mislil. Ve\u010d kot sem pisal, ve\u010d se je nabralo materiala, ve\u010d sem imel teh zvezkov in se poglobil v poezijo in kaj si \u017eelim spisat, pa tudi vase, koliko lahko dam sebe ven in na kak\u0161en na\u010din. Ne razmi\u0161ljam preve\u010d, bolj ‘spucam’ svoje misli na papir, gre za res terapevtski moment. V komad oziroma na papir dam vse, notranje tegobe in misli, ki jih ne bi delil z nikomer, bel papir pa je odprt in sprejemajo\u010d, brez predsodkov. Zdaj pi\u0161em vse, ne samo rap-a. Dnevnik, literatura zase, malo poezije\u2026 Rad pi\u0161em, v tem sem se res na\u0161el. Glasba je sicer nekaj \u010disto drugega, v glasbo sem zaljubljen. Vrnil sem se h kitari, tudi elektronika mi je v\u0161e\u010d. Zadnje tri leta sem zaljubljen v dobre \u017eure, zanimiva mi je elektronska skupnost, ko ljudje pridejo samo in izklju\u010dno plesat, just for the music, nothing else matters. Samo tam si in mi\u017ei\u0161 osem ur, glasba se te dotakne na povsem druga\u010den na\u010din. Ljudje se zberejo, se sprostijo, ple\u0161ejo in dajo vse misli na svetu stran, tam so zaradi glasbe in pustijo, da gre \u010dez njih val energije. To se zgodi vsaki\u010d, ali pri elektroniki, ali pri jazzu. Telo odreagira druga\u010de na razli\u010dne \u017eanre, jazz me odpre, res je sentimentalen, pri elektroniki ne morem biti pri miru, srbijo me podplati, pri rapu sem fokusiran na beat, na tekst, dober komad me zadane v srce. Mislim, da je bistvo glasbe, da zdru\u017euje \u2013 \u010de da\u0161 vse stran, ves ego in vse kar obstaja na svetu, s \u010dimer se ljudje obremenjujemo, in postavi\u0161 skupaj samo glasbo in ljudi, ko vsi odmislijo zunanji svet, je takrat toliko ene energije in ljubezni v zraku in tega ni mogo\u010de do\u017eiveti nikjer drugje.<\/p>\n

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\u010ce bi delal \u0161e kak\u0161no drugo glasbo poleg rapa, kak\u0161ne glasbe bi se lotil? <\/strong><\/p>\n

Kantavtorsko. Vrnil sem se h kitari, s katero se je vse za\u010delo v glasbeni \u0161oli, ampak takrat \u0161e nisem bil dovolj zrel za in\u0161trument. Sedaj pa jo primem v roke sam od sebe in vadim po ve\u010d ur\u2026 Rap je trenutno nekje zadaj. Nazadnje sem naredil Kaktus, ker sem rabil to ‘spucat’. To\u010dno tak ob\u010dutek sem imel poleti, da noben ne poslu\u0161a, noben ne ve, kaj \u010dutimo, vsi bi samo \u0161e in \u0161e ve\u010d, nove albume, sliko, ne vem kaj. Noben ne vpra\u0161a, kaj dogaja, a si okej, a greva na kavo, kar je nekaj \u010disto \u010dlove\u0161kega, vsi so tako brezosebni, \u0161e posebej v teh \u010dasih in s to politiko. Trenutno se vra\u010dam h kitari, poeziji, tak one man band ali pa z bandom. Ampak mogo\u010de kantavtorstvo \u0161param za stara leta.<\/p>\n

Kako nastane komad, kako se vsega skupaj loti\u0161? Je vsak komad druga\u010den in iz kje \u010drpa\u0161 najve\u010d navdiha? <\/strong><\/p>\n

Vsak komad je sigurno druga\u010den. \u010ce govoriva o rapu, jaz dobim beat oziroma instrumentalno podlago, od enega izmed producerjev, s katerimi sodelujem. To zgleda tako, da oni delajo vsak dan razli\u010dne podlage in ker imajo v veliki ve\u010dini dobro uho za to, kdo bi \u0161el na to podlago, to potem razpo\u0161iljajo. In potem jaz samo spi\u0161em, ko pride \u2013 to pa nikoli ne ve\u0161, kdaj bo.<\/p>\n

Je kdaj obratno, ima\u0161 najprej ti tekst in pove\u0161, da si imel v glavi beat, \u010de bi se ga dalo narediti?<\/strong><\/p>\n

Na za\u010detku sem imel samo tekste, zvezke polne besedil in sem iskal beat, razmi\u0161ljal, kam bi lahko dal ta svoj tekst. Potem pa enkrat za\u010dne\u0161 delat in vidi\u0161, da je beatov ogromno. Niso vsi dobri, je pa veliko bolj\u0161e tekst pisati \u010dez beat, zaradi samega flowa, fonetike in retorike. Da se lep\u0161e zlije. \u010ce jaz poslu\u0161am beat, \u017ee to\u010dno vem in grem najprej \u010dez flow, sprobavam hitrost, zloge, teksta \u0161e ne. Ko vidim, da mi je beat kul, in imam flow, za\u010dnem pisat. Freestyleam, malo si zmi\u0161ljujem. \u010ce sem res pri stvari in me beat ‘pogodi’, gre kar hitro in je enostavno. Sledim intuiciji. Sicer ne vem, ali je to dobro, zaenkrat se obrestuje in ne popravljam veliko. Pustim, da gre prva ideja \u010dez mene in vidim, kaj se da narediti v tej smeri. Ni vse dobro, ampak po navadi se ta prva ideja kar dobro odre\u017ee. Mogo\u010de potem kaj spremenim zaradi flowa, izgovorjave, vem tudi, da ko snemam, ho\u010dem, da je \u010dim bolj\u0161e, da bom lahko odrapal tudi v \u017eivo. Imam tudi kak\u0161ne teme, o katerih bi si \u017eelel pisati, in so nekje zapisane ali pa bivajo samo v moji glavi, pa bodo mogo\u010de \u0161le \u010dez naslednji beat, ki ga dobim. Ko si enkrat ute\u010den, same rime ni te\u017eko najt. I\u0161\u010dem jih vedno globlje, ampak se na koncu najdejo same, kar mi je najlep\u0161i del pri procesu \u2013 ko se ti pove\u017ee zgodba v celoto. Vem, kaj ho\u010dem povedat, za\u010dnem stavek in ne razmi\u0161ljam, kaj se bo rimalo; misel zaklju\u010dim in jo \u017eelim nadaljevat, da se bo rimala kon\u010dnica. Na koncu se genialno pove\u017ee z ne\u010dim, kar je tudi z mislijo povezano, v na\u0161em lepem jeziku je besed, s katerimi lahko ustvarja\u0161, itak ogromno. Va\u017ena je vsebina, da gre za podkovane misli, ki imajo neko te\u017eo. Da je to nekaj pomembnega, tvojega, da odra\u017ea neko stali\u0161\u010de ali \u010das, v katerem \u017eivi\u0161. Vsebina se mi na koncu dneva zdi bolj va\u017ena, kot sama rima.<\/p>\n

Hip-hop in rap sta odraza ulice in \u017eivljenja samega, kako si se na\u0161el v tej zvrsti?<\/strong><\/p>\n

Zadane me na polno. Ko v slu\u0161alkah sli\u0161im, da mi je nekdo vzel besede oziroma da razmi\u0161lja na enak na\u010din kot jaz, se takoj najdem. Rap je terapevtski. Da sli\u0161i\u0161, da nekdo nekaj pove na na\u010din, ki ga razume\u0161\u2026 Ne po\u010duti\u0161 se ve\u010d samega. ‘Uau, o\u010ditno nisem edini, ki razmi\u0161lja o temu.’ Neka varnost le\u017ei v tej zvrsti, ko vidi\u0161, da nekdo \u010duti enako kot ti, pa \u0161e upa si to povedat namesto tebe. Umetniki smo tukaj zato, da namesto drugih vse to izrazimo in se potem oni lahko v na\u0161i umetnosti najdejo. Mogo\u010de predstavljamo nek glas, ki ga ne upa vsak izrazit, se pa bo veliko ljudi s tem poistovetilo.<\/p>\n

Kako te\u017eko pa ti je biti oseben s svojimi besedili? Ko enkrat nekaj da\u0161 ven, in to poslu\u0161ajo drugi ljudje, si oni to lahko interpretirajo \u010disto po svoje, ne kot si si ti zamislil. Kako vzpostavi\u0161 to distanco, da to delo, ko ga enkrat da\u0161 v javnost, ni ve\u010d tvoje ampak ga vsak lahko dojema na svoj na\u010din? Je to te\u017eje s tako samoizpovednimi komadi?<\/strong><\/p>\n

Kaktus se \u017ee malo navezuje na to. Na neki to\u010dki se, kot re\u010deno, distanciram od te igre, ker druga\u010de bi se lahko samo sekiral. Te\u017eko je pisat o nekaterih stvareh. Obravnavam tematike od droge, do seksa, do privat \u017eivljenja, dru\u017eine, mojega pogleda na svet. Ko to pride ven, si vsak lahko to interpretira po svoje. Tukaj mi je v veliko pomo\u010d poezija, kjer lahko vse subtilno zakrije\u0161 z metaforami, jaz to po\u010dnem \u0161e z alter egi. Vedno sem imel to idejo, da nisem vse jaz, da so to moji alter egi, skozi katere izra\u017eam sebe. To je Pankrt v meni, to je Playboy v meni, ampak vsi so del\u010dki mene, ki sem jih s\u010distil iz sistema. Govorjeni pa so v smislu fiktivne osebe. \u010ce jaz nekomu razlo\u017eim tekst ali pa \u0161e bi ti \u0161el razlagat vsako podrobnost v tekstu, kako globoko gre, nima smisla. To sli\u0161i\u0161. Prvi\u010d sli\u0161i\u0161 komad in gre mogo\u010de mimo tebe, drugi\u010d lahko bere\u0161 tekst in opazi\u0161 nekaj, \u010desar prej nisi, tretji\u010d mogo\u010de dojame\u0161 kak\u0161no novo metaforo. Ampak samo pesnik ve vse. Zato mi je bil vedno zanimiv Pre\u0161ern. V \u0161oli se u\u010dimo, kako naj bi si interpretirali posamezna dela, ampak samo on ve, kako si je vse skupaj predstavljal, kaj je v tistem trenutku mislil, do\u017eivljal. Hvala bogu, da smo si razli\u010dni in vsak po svoje sprejema \u010dustveno zaznavne stvari. Re\u0161uje me, da noben zares ne ve, kaj sem jaz ‘spucal’ ven, kaj sem takrat \u010dutil, \u010desa sem se re\u0161eval, ko sem spisal komad. Je pa te\u017eko, \u0161e posebej neke te\u017eke tematike, zaradi izpostavljenosti. Ti izpostavi\u0161 samega sebe, se poslu\u0161alcem zaupa\u0161 \u2013 kot da bi ve\u010d tiso\u010d ljudem dal svojo zgodbo na pladnju. In mogo\u010de noben od njih ne bo te zgodbe sli\u0161al ali poslu\u0161al tako, kot bi si jaz \u017eelel, da jo. In ne vem, \u010de vsi \u017eelijo sli\u0161at zgodbo, nekateri bi radi sli\u0161ali samo glasbo. Se vpra\u0161am kdaj, \u010de sem preve\u010d oseben, ampak sem pred kratkim pri\u0161el do sklepa, da zaenkrat tega filtra nimam in dam ven pa\u010d vse, kar me ‘tera’, imam pa vseeno toliko distance, da vem kje so meje, o \u010dem lahko pi\u0161em in na kak\u0161en na\u010din. Glede tega, kaj pa raz\u010distim pri sebi, pa meje ni \u2013 gre za najsvetlej\u0161e in tudi najtemnej\u0161e stvari, je pa to na meni, glasba in poezija sta mi medij, preko katerega se lahko izrazim.<\/p>\n

Kako slovenska glasba oziroma slovenski rap vpliva na to, kar dela\u0161 sedaj? Kolikokrat sli\u0161i\u0161 kak\u0161en starej\u0161i komad in si re\u010de\u0161, da bi to pripeljal nazaj? <\/strong><\/p>\n

Tega je ogromno. Pa tudi ostali mladi \u2013 jaz sem velik fan slovenske scene. \u010ce se da, sem v prvi vrsti na vseh koncertih, ali pa stojim nekje zadaj, ampak sem tam. Slovenska glasba me navdihuje, MRFY so mi nori, kot trinajstletna fanica sem. Koala Voice, pa tudi bolj izku\u0161eni, z Dan D smo si izmenjali albume. Jaz sem odra\u0161\u010dal na tej glasbi, daje mi ogromno zagona, navdiha in vpogleda na to, kak\u0161no sceno imamo pri nas. Odprta je, topla in povezana. Ogromno imam tudi neke izgubljene, neobstoje\u010de nostalgije, ki je niti ne morem imet, ampak jaz sem po du\u0161i star 60. I\u0161\u010dem nekaj alternativnega, ne zanima me to, kar je \u017ee sli\u0161ano. Trenutno je zunaj veliko glasbe, ki je samo slaba kopija ne\u010desa \u017ee obstoje\u010dega \u2013 no judgement, you do you, ampak jaz i\u0161\u010dem nek nov zvok, zanima me nekaj, \u010desar \u0161e nisem nikjer zasledil. Ve\u010d drznosti, ve\u010d samega sebe, veliko osebnosti \u2013 ta umetnost je tako lepa, organska, popa\u010dena, ravno v tem je lepota. Danes je preve\u010d \u0161minke, preve\u010d je vse digital, danes ni praskanja vinilke, ni prasketanja igle. Glasbo je treba delat ne zato, ker je to sedaj ‘in’, ampak zato ker \u010duti\u0161, da jo mora\u0161 delat. Nekje mora bit vzvod, vzgib za nastanek umetni\u0161kega dela \u2013 jaz imam nekaj za povedat, a vam lahko povem? Pa naj bo to preko ‘sounda’ ali pa besedila, bilokaj.<\/p>\n

Kako pomembna ti je vizualna podoba komada, torej videospot? <\/strong><\/p>\n

Mogo\u010de bi si \u017eelel naredit nek preboj. Rad vidim, ko na na\u0161i sceni pride ven kak\u0161en hud video. Dam veliko na vizualno, podpiram, da se dela dobre spote. Ni pa to toliko na meni kot tekstopiscu, jaz dam mojih 100% v tekst, snemalec njegovih 100% v video, Hyu recimo njegovih 100% v glasbeno podlago. Vsak spot, ki smo ga dali do sedaj ven je bila vizualna podoba, ki bi si je \u017eelel. Spot za Playboy smo snemali z Ur\u0161o Premik in to je bil hud projekt. Bilo je prijateljsko sodelovanje, tako spontano snemanje in rezultat je nor, res sem sre\u010den.<\/p>\n

Ko sva \u017ee pri Playboyu, sodeloval si s Petjo Zorec, ki je v spotu predstavila svojo novo kolekcijo, premierno na Ljubljanskem Fashion Weeku, Ur\u0161o Premik, ki je odli\u010dna fotografinja in je bil to njen prvi glasbeni spot in Injo Zalto, ki je umetnica\u2026 Koliko pomena da\u0161 na povezovanje razli\u010dnih vej umetnosti, kot ste to naredili vi? In s kom bi \u0161e sodeloval, \u010de bi lahko, na kakr\u0161nemkoli projektu?<\/strong><\/p>\n

Ogromno. To je point vsega, da se zdru\u017eujemo. Meni je bilo noro, poleti smo se dru\u017eili in ujeli prijateljsko, pristopila je Petja in sem probal novo kolekcijo in smo pri\u0161li na idejo, da se jo tako predstavi. Vsi smo bili za, vedeli smo, da gre za projekt, ki ga moramo narediti in ko pogledam nazaj\u2026 Kapo dol puncam, tudi Tini (Novak) v re\u017eiji in monta\u017ei. Sodeloval bi pa z MRFYji, mogo\u010de vizualno s Kuklo (Kesherovic)\u2026<\/p>\n

Kaj bi rekel, da je ena stvar, ki jo trenutno v slovenskem kulturno-umetni\u0161kem prostoru najbolj primanjkuje?<\/strong><\/p>\n

Spo\u0161tovanje. Od politikov. Toliko potenciala, kot ga imamo mi\u2026 Rojeni smo iz kulture, koliko pesnikov je za nami, arhitektura, Ple\u010dnik, celo \u0161portniki! Tako dobri smo in od tam ni nobene podpore \u2013 to je edino, kar me zaboli, ker smo znotraj nas tako ljubeznivi in odprti. Na sceni tako ne bi spremenil ni\u010desar, od ‘zgoraj’ pa. Ve\u010d sredstev in ve\u010d spo\u0161tovanja do drugih ljudi, ve\u010d prilo\u017enosti za umetnost in kulturo, ve\u010d izobra\u017eevanja v tej smeri. Vsi to nosimo v sebi in bolj, kot nas \u017eivljenje oblikuje, hitreje se to razblini, manj si v sebi umetni\u0161ki otrok. To je treba negovat, da se ne izgubi tega otro\u0161kega navdiha.<\/p>\n

Kaj je tvoj najljub\u0161i trenutek kariere do sedaj in kateri komad najraje izvaja\u0161 v \u017eivo?<\/strong><\/p>\n

Vsak koncert je bolj\u0161i od zadnjega, tako da zadnji koncert v Gali Hali. Na koncertih dam ven vse kar imam. Igrali smo na kontrabas, klasi\u010dno kitaro, Individuum unplugged, Gaj\u0161t je bil gost na Pankrtu na trobenti v \u017eivo, pa live band in DJ\u2026 Gala Hala je bila res nora. Najraje pa v \u017eivo izvajam Sekunde, \u010disto unplugged, res je lep in miren in mi je v\u0161e\u010d, kako smo ga naredili z bendom, aran\u017ema je \u010disto druga\u010den.<\/p>\n

\u010cesa se najbolj veseli\u0161, ko bo konec karantene? In kak\u0161ne ima\u0161 na\u010drte za prihodnost?<\/strong><\/p>\n

Najbolj se veselim \u0161pilov! Rejvov, \u0161pilov, hipijade, revolucije. Predstavljam si, da ko se tole kon\u010da, se mora zapisat v zgodovino. Jaz bi naredil petdneven festival v Tivoliju, na varianto Woodstocka. Ampak druga\u010de prvega normalnega koncerta, ki bo, \u017eivim za ta dan, ker smo res v nulo pripravljeni. Ravno, ko smo \u0161li v prvi lockdown, smo imeli planirano turo po Sloveniji, tako da smo res vse na\u0161tudirali in zvadili, repertoarja imamo za uro in pol. V prihodnosti se imam namen posvetit \u0161tudiju in ostat svoboden umetnik, se trudit delat za ljudi in kulturo, se dru\u017eit s soustvarjalci, hodit na koncerte, delat kvalitetno umetnost in deliti to znanje, ki ga imam, ki sem ga dobil z leti in ki ga bom \u0161e dobil \u2013 mislim, da je to moje poslanstvo, da delim to naprej.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Marc Jacob Cavazza, performing under the name Vazz, is a young artist based in Ljubljana, Slovenia, with a deep appreciation for art and culture that stems from something deep within his soul. He found his voice in rap, contributing to the local scene with two albums, a number of live gigs and artistic music videos. […]<\/p>\n","protected":false},"author":6,"featured_media":5677,"comment_status":"open","ping_status":"open","sticky":false,"template":"single-custom-twelve.php","format":"standard","meta":[],"categories":[20,14],"tags":[],"_links":{"self":[{"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/posts\/5671"}],"collection":[{"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/comments?post=5671"}],"version-history":[{"count":13,"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/posts\/5671\/revisions"}],"predecessor-version":[{"id":5693,"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/posts\/5671\/revisions\/5693"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/media\/5677"}],"wp:attachment":[{"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/media?parent=5671"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/categories?post=5671"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newedgemagazine.com\/index.php\/wp-json\/wp\/v2\/tags?post=5671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}