In the delicate melodic realm of the ethereal and the powerful, lies the music of the talented duo YNEHDS. Comprised of siblings Sebastian and Catalina (Catitac) Capozzi, this dynamic duo from Argentina have always channelled their distinctive sound through captivating narratives.
With a heavy focus on experimenting with various software tools in Ableton alongside live instrumental inflections, their debut EP titled ‘Ines’ takes listeners through the emotional journey of a woman enduring the merciless grieving process after the death of her husband. This concept masterpiece is a true testament to the compelling interworkings of music and lyricism.
I had the pleasure of discovering more about the musical interworkings of YNEHDS from Catitac, who gave me a snapshot of their songwriting processes and inspirations.
You formed YNEHDS, alongside your brother. How does collaboration with family influence your creative process, and what unique dynamics does it bring to your music?
“My brother is the best. He hasn’t studied music much, but I consider him one of the best guitarists. He has an ear, sensitivity, and a love for music, which is the most important thing. We build melodies from improvisation, using our voices a lot. He would translate melodies to the guitar that I proposed with my voice. We have a lot of fun with it. Music is something that unites us in this life besides being siblings.”
How did growing up in Buenos Aires, Argentina, influence your musical style and the themes you explore in your compositions?
“Buenos Aires influences my music because it’s both chaotic and inspiring – Argentina itself has always been that way. I love many things about my country, but above all, it has to be the tango. I consider tango, both as music and dance, to be a form of escape and liberation for the soul. It definitely influences my lyrics to some extent. That’s why when I dedicate myself to composing and connecting with my music, I want to feel it in my body – to show how effectively music and dance work together. My first song, written when I was 15, was a tango and if I ever find it again, I’d love to rework it. Although I adore the tango, I’m also heavily influenced by international music, specifically rock.”
Can you elaborate on how your parents’ contrasting musical tastes shaped your own artistic journey and the delicate balance you seek between romantic melodies and powerful rock?
“Since I was a young girl, my father made me listen to bands like Rush, Dream Theater, and Iron Maiden. Many people find it hard to digest, but it fascinates me. I love the fact that a song can last 30 minutes, with incredible development in music and the story being told. I guess in these times of immediacy, it’s easier for us to listen to a 3-minute song. But at the other end of the scale, my mother introduced me to more romantic melodies like Luis Miguel or Jarabe de Palo. My mother also told me that when I was very small, we often danced to these ballads together, her holding me in her arms.”
You say that Steven Wilson is a major influence in your composition style. How does his work inspire and inform your creative process?
“I have a kind of fanaticism for Steven Wilson, and I can’t fail to mention Thom Yorke as one of my idols. I consider them to be incredibly creative people who, in turn, connect with their message. I like protest lyrics, and I like ironic and magical ones, and for me, they are that. Steven Wilson’s influence on me has mostly to do with the fiction in his stories – the theatrical stories he tells, accompanied by his spectacular music videos, immerse you in the story, and open your imagination. When I thought about my album, I tried to create a fictional story that moved me but also allowed listeners’ imaginations to roam free since the lyrics are not very literal. I like to ask people what they imagined when they listened to the songs without knowing the story behind it.”
Your debut EP, ‘Ines’, tells a powerful story, with each song representing a different emotional stage of the woman’s grieving process. What inspired you to delve into such deep and emotional subject matter for your music and can you share some insights into your approach to storytelling?
“‘Ines’ was a story born from a very famous text by Freud titled ‘Mourning and Melancholia’. I studied psychology, and those texts in my academic training also impacted my music and the way I see the world in general. In ‘Mourning and Melancholia’, Freud saw mourning not just as a state of sadness but as a complex internal activity necessary to overcome loss. This is what I based my fictional idea and story of Ines’s mourning on and each song represents a particular stage. ‘Negatio’ (denial), in which Ines hallucinates her husband in their garden tending to the flowers. ‘Furorem’ (anger), where Ines realizes her husband has died, and she is angry with the angels who took him away. ‘Tractastis’ (negotiation) is a state difficult to put into words because it is like a painful pause – hence why it’s the only instrumental track, suggesting this state of confusion through a change in structure. ‘Incidamus’ (depression), is the most visually stimulating song portraying isolation and loneliness. ‘Acceptatio’ (acceptance), is the only Spanish song on the album. The lyrics for this song came out in one go, and it had no modifications. It’s a very special EP.”
What does the name YNEHDS represent, and how does it reflect the artistic vision and identity of your band?
“The name of the band YNEHDS stands for “ya no es hora de siesta” (it’s no longer nap time). We have a music room at home where we both spend a lot of time playing and making noise regardless of the time! One Sunday afternoon, my mother yelled: “stop playing, it’s nap time.” Once nap time was over, we immediately started playing again – that’s where the name comes from.”
Can you share any challenges you’ve faced whilst collaborating, and how those experiences have influenced your musical growth and direction?
“I believe there weren’t many problems at all when constructing the album. We enjoyed the process a lot, and we took our time to do it, without rushing. The only problem I can recall is me and my perfectionism. Also, the fear of showing my first songs and revealing my voice and creations to those who know me. It took three years after finishing it to launch it on platforms.”
Alongside the mighty YNEHDS, Catitac’s next release is with another music project which she shares with her partner Maw Roldan. The project is called ‘HUN’ and explores a more experimental musical landscape, with an imprint reminiscent of the artist Bjork.
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