Success, fears, and an artist on everyone's lips: Carlos Ares delves into 'The Wolf's Mouth'

At 28 years old, Carlos Ares is becoming one of the most relevant musicians on the new national scene . A Galician artist based in Madrid, he has been releasing songs and producing music for almost a decade, and since last year he has definitely broken through with his debut album Peregrino , which was recently recognized as the best pop album of 2024 at the MIN Independent Music Awards. In addition, he has surprised many with concerts in which, surrounded by a large band of musicians who are also multi-instrumentalists, he transmits a character and energy that is increasingly generating buzz.

Riding the crest of the wave, this week sees the arrival of his second album , which everything points to as consecrating him this year: La boca del lobo (also released by BMG Spain), which continues to explore that universe of pop folk full of nuances , with evocative sounds and personal and introspective lyrics, which this time address themes such as identity, exposure, the will to live or the contradictions of success.

As a preview of the album, which came out this Friday, the artist has released several songs over the last few months that have raised expectations: the biting Importante , a direct critique of the vanity of the ego; Autóctono , a true smash hit that is an ode to his roots and his "Celtic blood"; the afflicted Días de perros , in which he gives voice to another person's emotional pain; and Páramo , an inspiring paean to life that firmly and optimistically expresses the will to enjoy the good things and value what we have, no matter how hostile the world we inhabit may be.

With the album now complete, and although it certainly follows in the footsteps of Peregrino , there is no doubt that Ares continues to experiment to break new ground in his music with this La boca del lobo , as can be seen in the ambitious tandem formed by Un beso del sol and Con un solo dedo , which move away from conventional structures and develop with an almost progressive freedom. They form a musical collage and a journey through different sound passages, even recalling at some point Pink Floyd 's Dark Side of the Moon .

If Peregrino was an inner journey with a more consistent sound, La boca del lobo expands Ares's emotional and stylistic map without losing focus. From the album's opening track, which gives it its name, La boca del lobo , he speaks of "risking it all" and making a move "no matter how much it hurts me," giving free rein to his personal philosophy and his way of understanding life.

It's also important to remember that Carlos Ares produces his own music , personally shaping his albums and songs. In this capacity, he has gained prominence over the past few years, also working on the production of other artists with styles as diverse as Marc Seguí, Paula Cendejas, and Maximiliano Calvo.

To present their new songs, which join an already solid repertoire, Carlos Ares and his band are immersed in a tour that will take them to festivals such as Tomavistas (Madrid), BBK Live (Bilbao), Sonorama Ribera (Aranda de Duero), Vida Festival (Vilanova i la Geltrú), and La Mar de Músicas (Cartagena), among many other dates, over the next few months. Their audiences are growing steadily, and it seems clear that La boca del lobo will contribute enormously to continuing to deepen that growing connection with their audiences.

We spoke with him during the week he released this new album, and he shared his feelings about this new stage of his artistic career and his life as a musician.

Q. What does it mean to you to enter the lion's den?

A. It's like voluntarily stepping into a position I'm not sure I'm too keen on. I guess it's the current situation I'm in, exposing myself more and more, and seemingly working very hard to gain popularity. It's a bit of a consequence of my work: in this case, as more people get to know you, you become more and more of a public figure, and I don't know if that's entirely funny to me; it's a bit like the fear of success. It's that contradiction of working to be successful, but at the same time being afraid of it.

Q. What new influences and elements have you incorporated into the new album, compared to Peregrino ?

A. I've tried to follow the same creative line and a consistent artistic direction. Ultimately, it's quite inspired by Peregrino , but at the same time, I haven't wanted to stop being alternative and experimental, nor stop finding new sounds and new song formats. So, although there's continuity, at the same time, I believe that for La boca del lobo , you don't need to listen to Peregrino ; it's a work with its own independent value.

"Entering the lion's den is the contradiction of working to succeed and being afraid of it."

Q. In Autóctono, you reclaim your Galician identity and your Celtic heritage. What place does that have in your way of feeling and creating?

A. Well, I think it's something that's already incorporated, it's part of my nature, which inevitably carries a bit of Galicia or the character of where I'm from, but my intention was never to fuse Galician-rooted music with anything else. Rather, I think it's part of my personality, and people perceive that in the music. However, in the case of the lyrics of Autóctono , it is totally an ode to Galicia: it's the only song, in fact, that I've written directly to my homeland, because in the end, I had the feeling that there was always a Celtic element or a reminder of Galicia. Even so, I had never written a song specifically about that subject or my own to pay homage to the character and people of my homeland, and I wanted to do it because Galicia is truly something very important in my life and it's my refuge above all else.

Q. How did the collaboration with Begut (Beatriz Gutiérrez, who is also part of the band) on the song Un beso del sol from the new album come about?

A. Well, Bea is already a legendary part of my band and my concerts. She's an artist I admire greatly, and I really designed this album with a clear understanding of what my live lineup would be like this year and next, and Bea is part of it. I wanted her to have a moment in the spotlight, because I think she deserves it and she enriches the concert enormously. She has a voice with a huge personality, and I wanted to take advantage of her wonderful talent so that she wouldn't be limited to just doing backing vocals and such, but rather have a moment where she takes the main microphone and stands out above everyone else.

Q: You started making music at a very young age. How did music influence you during your childhood and adolescence, and what did it mean to you during those times?

A. In my childhood, sadly, I don't remember my relationship with instruments. I know I enjoyed music because my mother played me songs and I was incredibly moved. My father also played me a lot of music of all kinds, and I enjoyed it a lot, too. It's true that later, in my preadolescence, I didn't really like studying: I wasn't a great student, at least of classical piano at the conservatory, which is what I studied. It caused me a bit of frustration, and I think it was because I didn't really agree with the methodology they had there or with the philosophy or the way they treated music.

It wasn't until later that I began to relate to music the way I wanted: I took the classes I wanted, I created my own schedule, and I began training in what truly interested me, which was more modern music, modern harmony, composing, production, all the kinds of things I've been developing over the years. And of course, in this last stage, my relationship with music has been much more satisfying and much happier, because I've been dedicating myself to what I truly love.

Q. Was there a specific moment when you decided you wanted to dedicate your life to music?

A. I don't remember a specific moment. I remember a time in my life when I felt my future was tied to music because it made me very happy, because I thought I was good at it, and because people told me so and encouraged me. I was lucky to have the support of my parents and those close to me, who encouraged me and encouraged me from the beginning. They made it clear that they thought it was a good idea for me to continue in that direction or at least try, and they were there for me. Thanks to that, I had a belief and felt I could dedicate myself to it, but it was really thanks to them that I was encouraged to give it a serious try. I guess it was when I was 13 or 14, around that time.

Q. You produce your own albums. What does it give you to take charge of the entire creative process, and how does it influence the final result?

A. Well, it's partly due to the current circumstances of my project. I don't like depending on anyone for timing: when it comes to developing something, I don't like having to wait for someone else to do something or deliver something to me, so I almost always end up doing it myself, partly out of impatience. I think I learned to produce, in fact, because I didn't like waiting for producers to give me the production or final version. So, I preferred to do without them. And the same with videos: I liked the world of video and decided to learn how to edit, direct, and script a clip because it exasperated me to have to wait or depend on a work team.

In the end, producing an album gives me complete freedom and independence, and I can really do it with the timing and rhythms that suit me. Of course, the fact that I'm all about it gives it an identity: I guess I have a way of doing things that gives the songs that personality.

"I was fortunate to have the support of my parents and those close to me, who gave me wings and supported me."

Q. You've also produced music for other artists with very different styles. How do you approach each of these projects?

A. They're opportunities to learn to work with other types of sounds, textures, and, in the case of writing, also slang. It's beautiful because it sets your mind in a different way and you think in ways you wouldn't normally. You wouldn't seek out those resources or use certain tools or certain words if you were writing for yourself. It's very nice to experience that, and it's also very surprising, because there are many things that catch your attention and make you say: 'Well, I'm going to keep this for myself when I work on my own music.'

Q. So, has it happened to you that making these productions has also made you rethink how to produce your own songs?

A. Yes, yes, without a doubt. I've learned a lot from working with other people, and I've learned a lot from the methods other artists and authors use when it comes to writing, composing, and interacting with a song in the creative process. All of that is valuable, because each person does it in an almost completely different way. There are some that suit you better and that you like to apply to your creative process, and there are others that you like less. But anyway, I've improved a lot as a composer, as a producer, and as a writer thanks to collaborating and working with other people.

Q. How did you experience the recognition of the MIN Award?

A. It was beautiful and totally unexpected, really. I went to the ceremony convinced that my award was going to be the opportunity they'd given me to perform, and I was convinced I wasn't going to walk away with anything. But anyway, it was beautiful, and specifically in the Best Pop Album category: I found it flattering because I've never considered my music to be simple, and I think pop, if it means anything, is that it's music with a code that's simple or easy for the people to understand. So I thought it was nice to know that, within a code that I use, which can sometimes be a little more convoluted, complex, alternative, or experimental, the people on the MIN Awards jury considered that it also had a certain simplicity to it. I thought that was very nice.

Q. In recent years, there's been a huge explosion of new Galician artists, like yourself. Of this powerful new wave, which ones resonate most with you and which ones do you find most interesting?

R. Baiuca seems amazing to me; I'd love to do something with him. I think he's managed to bring Galician tradition to electronic music in a very elegant and refined way, and he also has a spectacular show with Xosé Lois, a percussionist who plays instruments that people are amazed at: if someone has never been to a Baiuca concert, they've probably never seen any of the instruments he plays. And then there are the girls from Aliboira, the cantareiras who sing with him and who have a ton of personality. Without a doubt, Baiuca is someone who would stand out from the new wave of Galician artists.

"Of the new wave of Galician artists, Baiuca seems amazing to me. I'd love to do something with him."

Q. Do you think there is a common Galician sensibility, even though everyone has their own style?

A. I don't know. I don't know if there's a common sensibility. Maybe there's something similar in character, because I think the people there, in Galicia, have a slightly tougher character; we're sometimes very honest, very direct, or a little serious. I think all of that, perhaps, is somehow perceived in the music, and it may be that it gives us certain similarities among Galician artists.

Q. You have a lot of festival dates this summer. Will we see you in many venues later?

A. Yes, we'll announce a few venues we're going to play at the end of the year. Actually, they'll start being announced much earlier, but the dates start there, at the end of the year: in October, November, December, around there. And they'll be our own shows; we'll extend the concert a little longer. It'll be a very special moment for all of us after spending the whole year working at festivals, which in the end is a slightly more hostile, more complicated circuit. Going to the venues means coming home, because everyone who comes to the concert is supposedly there because they really want to see you, and it's always incredibly rewarding for the artist.

Q. And how are you planning this tour?

A. Well, this tour is actually part of the previous tour, which was last year. It was my first tour, and I never considered it to be over, because there was a fairly brief period of time when we didn't play shows and we changed the show, but it's still pretty much the same idea. I'm going with the same band, I'm going with a very similar stage setup, and what we give main prominence to is the songs over the show and the stage paraphernalia, which I can't afford right now for financial reasons. I have to decide: I can bring a brutal stage paraphernalia and go alone, or not bring any paraphernalia and bring six musicians with me, which is what I prefer. What I can offer people is musicians playing music, and enjoying and connecting with each other.

Q. If you could talk to Carlos who was making Tiemblo in 2017, what would you say?

A. To be very patient, because there was still a long way to go, and to take it easy, because sometimes you rush and feel like your time is running out. I think the best thing I did was wait until I was sure I had something that felt coherent on stage, like Peregrino . I dared to bring it to the stage because I understood the whole concept and felt strongly about it. So until then I never did concerts, never toured, never released an album.

Q. What music have you been listening to lately? Do you tend to listen to more national or international music?

R. International, and now I'm working with African artists. I'm in a Tuareg band called Tinariwen , they're amazing. And I'm also with Ali Farka Touré and Oumou Sangaré; they're artists from there that I really like. I get into a kind of trance and really enjoy their music. In fact, I've written to Tinariwen on Instagram, hoping to collaborate sometime soon.