Coti Sorokin In Lima: “Politicians Around The World Have Wanted To Use‘ Color Hope ’and I Have Flatly Refused” | INTERVIEW | Diego Torres Music

"I made a million illusions / Prisoners who made songs …", he sang on the first solo album he recorded in his life. Coti Sorokin was almost 29 years old and the last three had been stealing time from time, minimal scenes to spread his voice and talent in some songs that were not the ones he produced for years for musicians of various genres. In 2002 he released his album "Coti" with songs like "My plans", "Before seeing the sun", "Nothing was a mistake" and his career as a singer was up. The young star producer earned his own place as an artist.

Roberto Fidel Ernesto Sorokin Espasa, born in Rosario, Santa Fe, on June 14, 1973, was not a rookie. His participation in albums such as Brutal Honesty (Andrés Calamaro, 1999) gave him bellows to continue composing and waiting for his opportunity, which included turning “Color hope”, years later, into a hit, thanks to the voice of Diego Torres who, even , its composition was awarded as exclusive.

The most recent thing we heard about him was “Stop playing”, a collaboration with David Lebón for his album Lebón & Cia, or a version of El embrujo, by the Peruvian Estanis Mogollón, together with Los Palmeras. This October 26 is presented in Lima with a special show. “It's like a single person in which I play different instruments, telling how I was writing this or that song. There are anecdotes of people with whom I worked, about my years in Madrid, of how I met Julieta Venegas, with whom we wrote a lot of songs together, of my years of Argentina, a little of all this, translated to the songs from that side more close, more human, ”the artist tells us. And then he tells us a little more.


Your song with David Lebón, on his latest album, gave a lot to talk about. How was that experience?

David is one of my childhood idols, imagine what it means for a musician. I had already had similar opportunities with Enanitos, with Andrés, with Charly, sharing musical experiences, recording studio, but I had not had that pleasure of being able to do it with the great David Lebón. Our beautiful relationship began when I invited him to the Teatro Colón to sing with me a song called "Do not hesitate." That same day he told me about his album Lebón & Co. and invited me to make a song, “Stop Playing,” which is a wonder of a beautiful time. It was an honorable experience for me. When I was 10 years old I got up and had it on a poster on my wall. Having the opportunity, then, to share talks and experiences is one of the wonders that the route gave me. I always say to David, "What do you do that you left my poster?" (Laughs).

Your dad was a very dedicated doctor, your mom played piano. How does your musical passion originate in that context?

Well, my father is 80 years old and continues to practice. He has 50 years of profession and, at the same time, is a music lover who has always bought many records, CDs, vinyls, cassettes. As much as I had a provincial adolescence in Entre Ríos, I had a cosmopolitan house. I went into my father's library or disco and discovered the world. So I was listening to a lot of classical music, folklore, jazz, rock and, of course, what most caught my attention at that time: the national rock of Spinetta and Charly, seeing how they synthesized music like the one my old woman played on the piano: Ravel, Debussy, Chopin. That also made me have a very open and non-static vision about music. I did not listen to styles, I listened to artists.

You collaborated with Andrés Calamaro on “Honest brutal”, one of the best albums in Spanish that he turned 20 years ago. What memories do you have of those days?

Well, I don't remember anything (laughs). No, the truth is that I have vague memories. What was very curious about those days is that it was implicitly forbidden to take photos, not like now that you share everything in networks. At that time, we had worked together for almost a year without taking a single photo. But not one, huh. No one, of which we participate, has a single photo, which is very nice, on the one hand, because each one has everything recorded in their own memory. But, on the other, we would all like to have a photo now, for the reissues and the things that have been done. And Andrés asks me and I ask him and then others and nobody has anything, it's very curious. But there are very nice memories, and every so often we help each other remember. I entered almost through the window, but it was a very curious experience how "brutal honesty" emerged. A large percentage of the disc was recorded without knowing that ESE disc was being made. It was like a kind of improvisation, jammin` or creative bridge that was generated between three people, that we were Andrés, Javier Calamaro and me, and between the three we began to make a record, almost without realizing it, that it ended up being brutal Honesty. It was a milestone in everyone's career, because we learned so much from that beautiful experience.

What did it mean for you to specify your first solo album, “Coti”, from 2002?

It was impressive what happened to him, because everywhere he heard. In Latin America and in Spain it had an automatic reception. "Before seeing the sun" was an issue that exploded. In Spain we sold 28 thousand records, in Argentina also a lot. And something big started. Today I am very happy to have taken that path, which was difficult, fast and also a bit against the current, because at that time they were calling me from all sides to continue producing, they offered me huge projects to produce, it was like a kind "Young star producer" and somehow I had to decide, focus and set aside a lot of super seductive proposals from Los Angeles, to Europe or Mexico and, nevertheless, today I am very happy to have decided to follow my path, that It was what beat me the most since ever.

In the midst of that whirlwind of production proposals and the decisive choice of your solo career, how was it to find your own voice and your own style?

Well, look, that is something that is not sought, is found, as you said. And it also has to do with the running of the pencil, the lyrics, the records, the shows. The question you ask me is wonderful because it is something I have thought about a lot, about which I have thought a lot and read a lot. I think the theme of style, if one looks for it, does not find it. One has to find it, yes, but doing, executing, carrying on and it seems wonderful to me how, from that first album we are talking about, to these last albums, they still have the same essence, there is an artistic coherence that I have achieved almost unintentionally, simply being honest and based on what I feel and my way of doing it and producing my own albums. With the good and the bad that that entails. But that is also part of the style, it is part of the construction of an artist with all its contradictions.

Your work as a composer has led you to compose songs for other artists, such as "Color Hope". Recently there was a controversy over his authorship, caused by a statement by Diego Torres to a Spanish media. Why do these things happen?

Well, they happen because the industry is, I think, very vitiated, right? And because we have to generate a change, it seems to me, in the respect of intellectual property, of authorship, that businesses go elsewhere. Many times it happens that they are mixed, it is not good that they are mixed. I think that Cachorro López explained it perfectly (N. de R: Cachorro, producer and co-author of the song, declared that the lyrics of “Color Esperanza” are 95% of Coti and that both composed the music. Torres would only have added some words). When culture or creativity are mixed with business, the limits must be very clear. Obviously, at that time, when the topic just came out (year 2001) I was starting, I had two newborn twin boys and I was forging a world in the strange place that was Buenos Aires for me. That made one accept things practically out of necessity, I didn't say anything to anything I didn't, even if I respected my own being as much as I could. Like, with a lot of vision at that time, I fought a lot for this matter and I have the majority of the rights to that song, more than 50%, so who decides where “Color Hope” is going to end, it's me. Already at that time I had a vision of how far you had to lower your pants (laughs).

There were differences with the use of the song. In Venezuela it was used in protests against Maduro, on the one hand, and on the other, you had given rights to the Spanish cancer league. But it seems that politicians love it …

Yes, it was used in a very powerful campaign in which the most important female voices in Spain recorded a version that was number 1 for several weeks. In each NGO request I have received, I have donated the rights and I have assigned them, but not for any type of political campaign. And I have been asked throughout the world, because it is viral on many sides. But systematically my denial has been resounding. What made this song great was not a marketing campaign, it was the same people who assumed it as a fighting anthem. So, it seems to me that, somehow, I could not bastardear that first wonderful energy that was generated in the mouth, in kindergartens, in places of help, self-help, in neighborhood communities, in social organizations , in the parishes, where there are a lot of picnic boxes, of popular pots, that call them "Color hope". So imagine transforming that into the face of a politician who one day tells us one thing and another day tells us another.

At this point, what does it mean for you to know so many different scenarios and audiences?

Look, audiences are not divided by flags or borders, both are capricious, they have nothing to do with people. I want to say that every audience, every city, every town, every place, every space, every schedule, every theater has a form of communication that you have to assume and you have to learn and you can't divide and generalize one audience from another in case it is of a nationality or a border or another. In general, the Latin American public is very passionate because it lives from a very strong spiritual need to link with music, which goes beyond entertainment, has more to do with a cultural identity and a vital need to live and share Your life with music. That makes the Latin American public have a very unique passion.


“Outskirts and Confidences”: Coti in Lima

Date: Saturday October 26

Time: 8 p.m.

Place: Auditorium of the Magisterial Spill

Address: Av. Gregorio Escobedo 598, Jesús María

Tickets: Joinnus