“I am constantly creating and producing bases”

We spoke with Carlos Jean, a music producer nominated for seven Latin Grammys who is now debuting the soundtrack for Up to Heaven: The Seriesthe latest from Netflix

Carlos Jean (Ferrol, 1973) is undoubtedly one of the most acclaimed music producers and DJs in the Spanish and Latin industry. With seven nominations for the Latin Grammy and three for the Goya Awardsamong many others, Jean has spent much of his recent career composing original soundtracks for audiovisual productions from platforms like Netflix or HBO. After having done so in 2020 with the film, now comes his musical contribution in the form of Netflix series EP Until the sky. Internal interview!

Question: On March 17th it premiered on Netflix Up to Heaven: The Seriescontinuation of the 2020 action film of the same name. Now joining its soundtrack is a new EP made up of 5 new collaborations after having already participated in the film's band with the title song (Until the sky). What was the experience like returning to the story and bringing your music back to the project?

A: Yes, I started with the soundtrack. At end, the EPs and songs are much more memorable than the soundtrack itself but deep down I'm in the film project because I did the entire soundtrack, all the original songs. In fact, this is super important because it's the result of all the music I'm going to make and that I'm making as it has been. the main song kryptonite. it doesn't come out kryptonite because suddenly I said “come on, let’s put a song in the film”, but because I'm in charge of making all the music and already within this format take all those songs I saved there to use in some scenes. Within the same project, much more original songs than if we put any other.

Q: This is already the ninth soundtrack you've been working on. Without going too far, your train for full train with Bebe in 2021 or even complete albums for Centaur It is Operation Dark Tide last year… All composing soundtracks by the same producer is something that is done less and less but to which you continue to contribute. Basically, it's a way of giving new meanings to the same song, right?

A: Yes, in the case of songs of course. I think in the end the audiovisual window that exists now with series and films across all platforms that are constantly launching new productions is amazing, because in the end it's like the new way of promoting a lot of music. Yes, of course it was done in the past, it was done more and it was more notable, but music also had other vehicles, such as radio, television... I think new content is on all platforms (Netflix, HBO) that are constantly launching productions and that, at the end of the day, people consume. AND a way of giving continuity, of giving music another means of communication. Deep down I may be promoting a song, but deep down I'm also promoting a series, which is like setting up a much broader, more transversal machine, take the theme of the song to a place that sometimes does not occupy the audiovisual. You can go with the headphones and be connected with your Spotify, you're listening to some kryptonite and you're looking at the song cover, which at the end has The engagement very powerful with the series.

Q: You repeat with artists you've already collaborated with, like Bebe or Mala Rodríguez, but also with new talents like Villano Antillano. In fact, with Bebe you were once again nominated for a Latin Grammy for the album skin changeWhat did you produce? What has it been like collaborating with these artists again and meeting new ones like 'La Villana'?

A: Well, in Bebe's case, we've been working for a long time and whenever I have an opportunity or see that there's a scene or some remnant out there, I always let you know. For me Bebe is one of the best composers, she has the ability to often reflect what we are looking for. I have a base to put into a scene and she does it very well.

With West Indian Villain We were talking about a base, a dance that I had scored and that I think suited the scene perfectly. Furthermore, it is the most representative scene, let's say, musically speaking, as in the end there is a musical charge that is very present and lasts for a long time. It's a very long scene and it's also trailer music. So we met and We got home around three in the morning and said “come on, let’s record”. It was kinda crazy! We managed to combine the idea she had with the idea I had musically. She wrote super fast, we were all in a loop and in two hours we had an explosive cocktail how is that kryptoniteNo?

Q: In addition to the music for the series, in which we see a lot of R&B, funky beat and even electronica, what are your personal projects like? What styles or varieties are you working in or want to delve into as an artist as well as a producer?

A: As a producer, I am working continuously. I I'm constantly laying foundations and things. Now, for example, I was doing a little base technology house play in my sessions, because for me I really like preparing straight. There are times when I'm a bit lacking in instrumental foundations, so I like to create myself with my foundations so I can make some sessions a little more my own. Right now I'm making the soundtrack for All the names of Godthe latest by Luis Tosar with Daniel Carpazolo, which is a great film. But yes, let's say the essential of my work will now be very focused on everything to do with films and series.

Q: I also have to ask about the show, something you also really enjoy as a DJ. We saw you at the end of last year in La Rioja, in Vitoria in the Euroleague basketball… What live shows do you have for this year?

A: Well look, since I have to combine everything with the tour part, in the end I always continue in the places where I have my residences as a DJ, from Marina Beach to Formigal, to all the clubs I usually go to. Then in the summer, which is when all the concerts and sessions are concentrated, what I normally do is go to Cádiz where I have a recording studio to match my compositions. My schedule is a little jumbled in my head because I don't know if I'm thinking about the places I've already been or where I have to go. But come on, This year will be like last year, which was fantastic. I was at Sanfermines, in Logroño, and in always emblematic and wonderful locations for sessions, of course.

Q: In a few words, how would you describe the series? Why should our readers dive into this and also listen to all the music you've teamed up with?

A: Well I guess it is a series that is made with great care. It's a really fun script because it has a lot to do with these stories that are so engaging, assaults by some children who want to get to “get to heaven”, who meet an empowered woman who handles them perfectly… I think there is all the ingredients to get through the seven super fun chapters, with a Daniel who goes on and on getting better and better. Seeing a guy being chased by the police after stealing some hams and then throwing them at him... The truth is that it's quite curious how this mixes with electronic music. I put all my energy into the musical part to have fun in pursuits that I think are more than original. I think you have to see Up to Heaven: The Seriesbecause is very fun, very intense and above all very well done.

He was The Nice to talk to Carlos Jean. From EL GENERACIONAL, we only have to thank and wish good luck with Up to Heaven: The Series and all your future projects.

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