Neue Darkwave-Klänge aus Spanien! Darkways ist das Musikprojekt von Marc Pérez Marín. „Ein Beat, der deine Schritte lenkt – auf eine dunkle Art und Weise“, so beschreibt Darkways seine Musik. Kürzlich ist die aktuelle Single „Shadowdancer“ erschienen – ein wunderbarer Ohrwurm mit einem pulsierenden und sinnlichen Sound, der uns neugierig gemacht hat!
Who is behind Darkways? What made you decide to start the project?
Hello, I’m Marc, the person behind this project. It all began in 2015 when I felt the need to express many things swirling inside me. I wanted to create an album to unleash my emotions, and that’s how I made the album Darkways (2016). I didn’t continue composing, as I somehow felt satisfied, like when you write a book for yourself without expecting anyone to read it. It wasn’t until last year that I decided to start composing again, but this time with much more production knowledge. Although my compositional skills hadn’t evolved much, the focus and references had, so in that sense, I chose to lean towards a darker wave style that the first album didn’t have. Once again, I felt I wanted to explain things, but somehow, I had everything much clearer when it came to conveying it. Another factor was the fact that I haven’t had a band for a long time. It bothered me not being able to make music, although there’s also the issue that it’s challenging to find people with the same tastes as you if you have a very clear idea of what you want to do. So, I decided to do it all by myself.
If you had to describe your music in terms of not music… what would you say?
It’s music you can dance to, but dance while crying, where you can feel different emotions. I believe some songs are more emotive than others, obviously, but all carry that mark of melancholy, either through the message or the memory of the past that emanates from them.
Forget about genres for a second – Darkways’ music sounds like …
I think my music sounds like a beat that guides your steps and instrumentation that makes you move and want to break free from that rigidity, all in a dark manner, obviously.
What are you looking for in music?
I always try to find something catchy and moving. If, while singing it and imagining it, I see myself moving and enjoying it on stage, then it’s good.
What is sound to you?
I want my music to sound big, as I mentioned before. I imagine myself on stage, and why not, in a large stadium. Therefore, I want it to sound that way to emphasize the message and the song.
What are your first musical memories? When did you first fall in love with sound?
In my house, we always listened to music, some from the 60s and 70s from my dad’s era. However, since I was born in 1986, most of the music that constantly played at home was from the 80s. Without a doubt, what first caught my attention was the distorted sound of the guitar – I always enjoyed listening to that sound even if I didn’t know which band it was. I also had a preference for cleaner guitar sounds with a lot of delay and reverb, which I didn’t quite understand back then.
Which person, artist or incident inspired you when you first started making music?
The band that has influenced me the most is Iron Maiden, as a guitarist (originally, I am a guitarist) with a style very similar to Adrian Smith and some touches of Dave Murray. But I have to say that Twin Tribes had a significant impact on me recently and, fortunately, helped me understand how to use all my previous knowledge to create something more contemporary.
What is the most surprising record on your CD-/Vinyl-shelf?
The first impactful CD I owned was Metallica’s Ride the Lightning. I suppose that even though it was thrash metal and remained aggressive, it managed to convey many other things to me. It’s as if you’re truly inside an electric storm listening to that album. But if by surprising you mean unexpected, I have many folk and blues vinyl records from the 60s/70s. I also really enjoy Eric Clapton’s Unplugged.
What impact do your surroundings have on your art?
Honestly, I’ve been disconnected from a musical environment for a long time, and in that sense, perhaps updating myself is a bit challenging. The reality is that I lead a normal life where everything is going quite well, and lately, I thought I had nothing to say, but there’s always something to express. However, having a family with two children also triggers thoughts about what you were, what you will become, and what they will be. I guess the passage of time, memories, one’s own mortality, and that of others affect us all, and, in the end, it’s a point where we can all relate.
Where does your inspiration for music come from? Which sort of mood produces the best song?
Perhaps my best songs, to me, are not necessarily the ones the audience thinks are the best. For me, the best ones, or the ones I enjoy the most, are those where I feel I’m leaving a part of myself in that song. For example, „Young Again“ and „Inexistence“ talk about something very intimate, and they are very special to me. Obviously, I would like them to be more recognized, but that’s something I don’t have control over. The songs that usually get more likes are „I like the night“ and „Madness“; both have a fast BPM and a catchy chorus („Shadowdancer“ is also in that style). So, when composing these songs, I only think about fun and movement, letting the music take you. I guess that’s the key.
Recently your single „Shadowdancer“ came out. How does the birth of a new composition happen for you? How does your compositional process work?
Sometimes I have an idea or message I want to express, other times a melody or harmony just comes to me, and I later fit it with something. And it usually goes like this: something just comes to my mind, a melody or a vocal line, and I grab my Spanish guitar from the dining room to listen to it with chords. If I like it, I record it on my phone and gradually create the structure, usually starting with a catchy chorus. Although in „Madness,“ the first thing that came to me was the main guitar riff. With „Shadowdancer,“ it was different because I had a clear idea of the synthesizer melody I wanted to create and also the bassline. Then, I always try to sing something on top and fit it in, even if I don’t know what I’m saying. Each song has its own story.
Which instrument will surely NEVER be heard on a Darkways track?
I think there are many instruments I wouldn’t incorporate. For example, a banjo. I like how it sounds; in fact, I have one and play it occasionally. However, I would never add it to any Darkways song, at least I can’t imagine it.
What’s next for you? What are you most looking forward to?
Right now, I’m focused on two things. The first one is live performances. I managed to convince two former bandmates to join my project, taking a significant step forward to give more meaning to all of this. The second, due to the great acceptance and demand for physical material, is to form an album with the next single and release a 10-song vinyl album. However, I’m still thinking about the best way to do it because I would like to add some remixes or additional guitars to the EP songs so that they fit well with what the band will become.
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