OLATZ SALVADOR

Olatz Salvador’s tour is entering its final stretch, and she has prepared a grand finale at Teatro Arriaga. The presentation of the album Zainak eman has travelled from town to town and now reaches its final celebration at Loraldia. We have plenty to celebrate!

Olatz Salvador’s music is anything but flat; it is a labyrinth. As we listen, we feel it moving like a snake across our skin. Where does noise end and music begin? Can the ear sense that silence is about to break, and that the song will begin a moment later? When do the lyrics end and only the word remain?

When we have been left without a map, where does civilisation end and the forest begin? Is the boundary between ourselves and others really as rigid as we think? How do we know whether, when we knock on a door, we are doing so from the outside or the inside? At what point do we realise that the horse we thought we were controlling has gone wild and that we are in danger of being thrown upside down?

Questions like these come to mind when listening to Olatz Salvador’s latest songs. This is her most electronic and untamed work to date. A work that undoubtedly explores boundaries. Almost without meaning to, Zainak eman is an album that will touch some of your wounds and, at the same time, get you dancing without even realising it — or perhaps quite deliberately. Where is the line that separates euphoria from melancholy? We cannot know.