Ede: "We are all toxic, demanding, insecure"

He half jokingly says that he is a bit of a PAS (Highly Sensitive Person) when he is bothered by the noise of the movement of the boxes of beers that the carriers leave in the bar.

Ede (Madrid, 24 years old), orange hair and bright eyes, became known for his collaborations with Xoel López, Club del Río and Ismael Serrano, but he began to stand out solo for some very personal songs.

She is an actress (she participates in the film

and the

, singer and composer, she is now publishing her first album,

She comes from the Madrid neighborhood of Carabanchel.

Ask.

From Rosendo to Ede.

Carabanchel continues to be a musical quarry.

Response.

Here she lives intensely (laughs).

I am very cat.

Carabanchel is my neighborhood, although now I live in La Latina.

I love it, as I love Madrid.

Despite the economic difficulties of this city, it is a place that welcomes everyone.

I am not a nationalist or regionalist, but I am a neighborhood nationalist.

I love the neighborhoods of Madrid: Carabanchel, the most, and also La Latina.

Q.

In Carabanchel you spent your childhood and adolescence and you became interested in acting above all else.

A.

That's right.

When I was about 10 or 11 years old, I was more interested in dance.

Then the music came.

In high school I didn't know what to study.

I was a bit lost and, although I was interested in music, I didn't want to go to a conservatory.

My father, who is a high school director, taught me the RESAD (Royal Superior School of Dramatic Art of Madrid).

I entered because he had something that called me with music and acting, but I had never done theater.

He had danced and sung a lot, but no theater.

Not a drama class.

I guess in pantomime I've always found a way to make the world lighter for me.

Q.

With your new album, that world is also softened.

It sounds relaxing without being.

R.

From the beginning I have not wanted to make acoustic music.

I didn't want to be tagged as an acoustic singer-songwriter on my first Ep.

I have nothing against it, but I didn't see myself there.

My sound concerns were elsewhere.

For this record, I messed around with the production, I made demos with more instrumentation… I had been working on this record for about seven or eight years since the first song I wrote.

It is a journey of these years.

Q.

In 'Caballo ganador' he sings: “I fight with everything that comes”.

What is that fight?

R.

Puff… I have a very contentious thing.

Over time I have learned to embrace that part of myself because, in her day, I hated her so much about myself.

It is a part of fighting a lot and also leading me to suffer a lot for it.

In general, it happens to me with everything.

The other day in therapy the psychologist told me: "You fight everything."

I am very stubborn, very Madrid.

With this song, I talk about the fact that I am losing a bit of what I already have because I am fighting for what is to come.

And sometimes it's also cool to drop your weapons a bit, sit quietly and enjoy yourself for a while.

It's cool to take your eyes off the battlefield and turn around and look at the trees.

Q.

How long have you been going to therapy?

A.

Since I was 17 years old.

I have gone very slowly.

Q.

Quite young.

R.

My generation has lived its own path and has broken the taboo of therapy.

At home the first time I said it out loud, my parents freaked out a bit.

They told me: “But what is wrong with you?

Has something bad happened?"

I had to explain it to him that I just wanted to start this trip.

Q.

What winning horse would you not ride?

R.

My guts are my guide.

When something is telling me no, and it doesn't have to be something bad, it's no.

My gut won't let me stay in places when I feel like something isn't right for me.

I'm not talking about being treated like a queen.

I am referring more to something that has to do with certain values ​​and a way of doing things in life.

As I get older and more diligent, I realize that I know better how to choose my situations and people based on all of this.

Q.

What values ​​are those?

R.

Essential principles for me: respect and sensitivity to what happens in life.

I would never ride a winning horse that does not have these principles.

Q.

She sings, composes, plays, arranges and manages the aesthetics of herself and the record.

Is controlling the entire process as an artist staying true to those principles?

R.

Yes. Also empowering.

To me there is a part of being very explicit with the messages of empowerment that I do not like.

I want my work to speak for me.

I understand that it is necessary to say things, but I don't like to redound so much in the discourse and I prefer to talk about my project.

That is to say, I prefer that it be seen how I am in music and how I work and who I work with.

I go with two spectacular musicians, I run my artistic office with my cousin Lucía and I do everything in my music.

Q.

Of course, in the song 'Buena y pura' he refers to condescension towards women.

R.

It is that and it also speaks of the value that we women give ourselves.

We have set ourselves standards of being empathetic, caregivers, bosses, friends... and everything at the same time.

We have to be perfect.

The song comes to say that I have dark parts.

There is a word that I hate and that is in fashion: toxic.

We are all toxic, demanding, insecure... The discourse is very superficial around this and that of going to therapy and it seems that everything is cured.

It doesn't go like that at all.

The song is a way of seeing ourselves as a woman with parts that are also shit and hurt people and you can't not have them because we're human.

In the female world, in my friends and colleagues, sometimes I see a hyper vigilance.

And it can't be.

It is going to fail somewhere and we are going to be less fair or coherent than we should.

Sometimes I'm bad.

Ede, artist, photographed in her apartment in Madrid.

bald elm

Q.

And when it happens that it is and you know it, how do you deal with it?

R.

Bad. I say all this speech now and then I take it terrible when I'm not perfect.

But I am learning not to suffer so much and to know how to embrace it.

It makes me angry not to fulfill that ideal that I have as a woman, but maturity is to assume that this ideal does not exist.

Q.

He is 24 years old.

Youth forces him to demand more to demonstrate more.

A.

Totally.

I am also learning to deconstruct myself to know that I don't have to be demonstrating all the time.

I am young, a woman and I go alone.

Everything comes together and, then, the impostor syndrome arises, so much of the feminine world.

In my case, it's a bestiality.

And it is so because it influences that I was associated from the beginning with my collaborations with Xoel López and Ismael Serrano.

I fight a lot to prove the double.

Now, instead, I am learning to relax with all of this.

I try to leave the extra effort of personal demonstration somewhat parked.

Q.

In 'Lobas' you say: “Singing we're going to survive”.

A.

Literally.

People who are very sensitive find a safe place in poetry, in artistic expression.

Vulnerability is not a weakness.

This system wants us to believe that the more you shield yourself against feeling, the more productive you are.

I don't want to get into that wheel.

Q.

Is your vision, like that of other young composers, here to stay?

R.

The other day I was listening to Zahara singing with Natalia Lacunza in a

of one of her songs.

At one point, Zahara puts in a rapped stanza, almost recited, talking about the abuses in the industry in an absolutely literal way.

I hallucinated.

I thought, 'There's no other way to say it.'

Zahara has dared to say it now without poetry, without nonsense.

He starts distributing wax in a totally explicit way and without mincing words.

He is strong.

She is already consolidated and it is necessary.

I think listening to it gives me tremendous strength and makes me think about things about my own life.

There is still a long way to go, but the people who are growing now in music need these ideas.

Q.

What scares you the most about the music industry?

R.

Lose the north.

I feel that now the bombardment of the internet and social networks is a lot.

We are involved in a maelstrom of tools that must be used to make yourself known.

There are days when I do much more social media content than music.

I'm afraid it's so invasive.

I don't want to lose perspective of why I make music.

There are entire weeks in which I spend all my time working on my project and dedicate nothing to composing music.

I start editing videos, working on an Instagram

, then mini-videos on Tik Tok... I stop to think about it and realize that I haven't done anything artistic.

Q. What would be your goal in music then?

R. It would be enough for me to give me enough money to buy a house for my parents.

And that's it.

Well, and another to me (laughs).

Come on, what I want is to live with dignity with music.

At least, if it's not enough for the house, let it be so I can invite my friends.

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