Pablo Gómez, de Puentes Fangos: “Creo que hay una movida rockera en Santa Rosa que resiste”

El dúo santarroseño acaba de editar su último material: “Las fiestas prohibidas”, en el cual da un paso adelante en la producción. Hablamos con Pablo Gómez, vocalista y violero de Puentes Fangos, sobre su manera de componer, los consumos musicales de la época, la cultura de la cancelación y su visión de la escena local

Hace apenas 4 años Santa Rosa tenía más de un espacio para acobijar a tipos con inquietudes rockeras, uno de esos lugares era La Luna; un bar con un escenario improvisado, sonido potable y administrado por gente del palo. Un lugar que escapaba de pretensiones de cualquier índole. Duró lo que tuvo que durar. El tiempo necesario para que de ahí surjan un puñado de bandas interesantes, y una de ellas fue Puente Fangos, la cual acaba de lanzar hace un par de semanas un nuevo E.P.

Somos dos, un dúo. Viola y batería”, así fue la carta de presentación de Pablo Gómez y Maxi Galván al momento de ir en busca de una fecha debut al ya extinto bar de la calle Alvear. “Sí, somos dos, como los White stripes, o Prietto viaja al cosmos con Mariano”, afirmaron entre risas en esa noche de invierno del 2016.

Puentes Fangos tiene tres trabajos editados: un L.P., “Ciclo de luces y sombras“, (2018) y dos E.P., “Escruche” (2017) y el reciente “Las fiestas prohibidas” (2020). Al hablar sobre el formato de la banda, Pablo -quien es el compositor y vocalista del proyecto- explicó: “Lo tradicional era que contáramos con un bajista, pero se dio así. Nos consolidamos de esa manera, Maxi en la bata, y yo en la guitarra”.

La búsqueda del dúo se percibe en su previsibilidad, y esto seguramente se deba a que las influencias siguen arraigadas casi en su totalidad al rock nacional. Desde la agresividad arrabalera de Escruche, pasando por el imaginario “indiosolariano”  que compone Ciclo de luces y sombras, hasta las capas limpias de instrumentos en las cuales se apoyan para evocar cierto espíritu spinettiano en Las fiestas prohibidas, Puentes Fangos en ningún momento deja de ejercitar el músculo minimalista que los impulsa.

Foto: Adrián Pérez Funes

Mis canciones suelen tener una frase que lo resuelve todo”, confiesa el frontman de Puentes, de 26 años, estudiante del profesorado de Historia en la UnlPam, con quien hablamos para BIFE en este contexto de incertidumbre y de señalamientos sociales y culturales propios de la época que atraviesa de lleno, particularmente, a la música. “Trato de adaptarme a las demandas sociales. Se trata de eso, de adaptarse. Aunque todo el tiempo eso exige un revisión, porque llega una pandemia y pone patas para arriba todo”.

En el último E.P. se nota un cambio estético notorio en cuanto al sonido, ¿Cómo se dio eso?

 En Las fiestas prohibidas tratamos de reinvertarnos de alguna manera en cuanto a la producción, la forma de encarar el disco. Con la batería al frente y demás. Maxi exploró otras formas de pegarle a la bata, con otra técnica. Buscamos un sonido definido desde la base. Quisimos ser más coherentes, y lo logramos porque el resultado nos agrada a los dos.

En las letras sigue prevaleciendo cierto tono de “épica” que caracteriza a la banda, si bien tus canciones siempre dispararon más imágenes que una narrativa, en este último trabajo da la sensación de que esa fórmula está aún más acentuada y presente…

Foto: Alejandro Contreras

Buscamos un sonido definido desde la base. Quisimos ser más coherentes, y lo logramos porque el resultado nos agrada a los dos.

Cuando escribo hay más de intuición que de conocimiento. Supongo que por eso se da de esa manera. El hecho cotidiano del pensamiento es lo que me lleva a escribir. Es el motor. No busco una lógica, ni creo tener una influencia determinada, viene del día a día. Soy circunstancial, compongo con lo que me atraviese en el momento. Y obviamente eso se traslada cuando agarro la guitarra; la distinta manera de ejecutar un acorde. Busco una decisión estética según mi filosofía musical.

¿De qué manera le trasladas eso a Maxi?

A  maxi le voy con una idea ya pulida y él lo que termina haciendo es ejecutarla desde su instrumento, transformando lo que yo tengo. A esta altura ya tenemos una metodología de laburo. Creo que nos ayuda mucho tener una rutina a la hora de ensayar, de las formas. Ensayamos en el garage de mi casa, los dos solos. Cuando mi vieja termina de laburar. Podríamos ir a una sala de ensayo, de hecho a veces lo hacemos para cambiar el aire. Pero la posta es en casa.

¿Cómo surgió el hecho de ser un dúo y prescindir de más instrumento?

La verdad es que se dio así, fue con Maxi con quien logramos que el proyecto tenga cierta continuidad. Cuando comenzamos lo más tradicional era que sea un trío, pero terminamos consolidando el proyecto de esta manera.

Eso le agregó una caracteríztcia adicional a la banda, la cual terminó siendo parte de la impronta…

Sí, sin dudas. Hoy ya es una decisión que sea así, que sigamos así. Nos ha pasado de que algunos músicos nos dijeran “mirá que yo toco el bajo, eh” (risas).

Decidieron sacar un E.P. de tres temas luego de haber editado su primer disco, ¿esto parte de una decisión de aggiornarse a la manera en la que hoy se consume música, en la cual ya “no hay tiempo” para la escucha de un disco o se dio por otros motivos?

Pasó un poco por ahí, como vos decís, de aggiornarse a la época y la manera de consumir una obra, pero por otro lado también pasó para aliviar la carga de entrar al estudio. De ir con ganas y que eso no sea un desgaste. Cuando grabamos “Ciclo de luces y sombras” fue un desgate total, de no haber pisado nunca un estudio a dejar todo ahí, fue fulminante. Quisimos tener menos presión, disfrutarlo más.

Cuando comenzamos lo más tradicional era que sea un trío, pero terminamos consolidando el proyecto de esta manera.

¿Cómo te llevas con estos cambios que afectan al arte y a la manera de concebirlo?

Ya no existe el acto contemplativo de una obra, y pasa en todas las artes. Uno atenta a través de la  interrupción, todo el tiempo. No existe más esa concentración y atención que uno requiere para apreciar una pieza musical, una película… Igualmente no reniego, son las condiciones que enfrentamos hoy en día.

No sólo hay cambios culturales desde los artístico, también surgieron cambios sociales casi al mismo tiempo que empezabas a desarrollarte como músico, de hecho una de las presentaciones más importantes de Puentes Fangos fue telonear a Pez en Santa Rosa, una banda que fue alcanzada por la llamada “cultura de la cancelación”. ¿En lo personal, de qué manera tomas todo esto que está sucediendo, en cuanto a la relación de la obra y artista…?

Son tiempos en los que se están dando transformaciones culturales a niveles colectivo, y esto penetra en la cultura, provoca choques, provoca crisis. Desde lo personal opto por adaptarme a las demandas sociales. Acepto esas transformaciones, los cambios en la manera de pensar, de comportarse. Yo creo en el fondo es una búsqueda democrática. Me parece que está bien la ley de cupo, por ejemplo. Pienso que la diversidad puede hacer de una obra algo más complejo. Y Si una artista es señalado de manera colectiva a mi me afecta la predisposición que yo tenga para con su obra.

El año pasado posteaste un cover tuyo de Maxi Prietto en tus redes, un artista “cancelado”…

Sí, pero como te dije antes, los cambios están sucediendo muy rápido, y eso también lleva a que uno revise constantemente todo de manera puntual. Creo que es sano replantearse todo y hacerlo todo el tiempo. Y ver si todo tiene que ser como hasta hace nada. Constantemente estamos cambiando de realidad.

Desde lo personal opto por adaptarme a las demandas sociales. Acepto esas transformaciones, los cambios en la manera de pensar, de comportarse. Yo creo en el fondo es una búsqueda democrática.

¿Cómo ves la realidad del rock como movimiento cultural, y el hecho de ser desplazado por otras corrientes estéticas?

Bueno, está claro que hay una tendencia generacional que va por otro lado, hay otras búsquedas generacionales. Pero a su vez, en el plano nacional, hay artistas como Wos que abrazan al rock, y eso quizás sirva para volver a impulsarlo. Ahí hay algo. Soy positivo en ese sentido. Existe la posibilidad que la pospandemia genere un click y el rock vuelva a ser lo que fue.

¿Y cuál es la realidad de Puentes Fangos y el rock en la escena santarroseña?

En términos generales, creo que en Santa Rosa no se consume mucha cultura. Eso no quiere decir que la cultura que hay sea de baja calidad. Más allá de que el rock ya no es lo que era. Creo que hay una movida rockera en Santa Rosa que resiste. Está claro  que ya nada es lo mismo en lo cuantitativo. Pero creo que hay cierta previsibilidad y eso hace que sea genuina. En cuanto a la banda, nuestra realidad en tiempos de pandemia pasa por remar en un mar digital. Y ni bien se pueda queremos tocar tierra.

246 thoughts on “Pablo Gómez, de Puentes Fangos: “Creo que hay una movida rockera en Santa Rosa que resiste”

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