Since she appeared on the scene, Aleksandra Prelevic Palladino, better known as Dolce Hera, pushes the boundaries of local and regional music production, fusing genres into an authentic and recognizable expression.
Her new single “Star Kids”, which was released at midnight, represents another bold step in that direction, and the first professional female drummer in Montenegro describes it as “the embodiment of authorial freedom and musical creativity as a synonym for playing”. This track, as she says, is “a true drumming paradise” for her and the most important portal to enter her artistic world so far, because it is the closest to her in terms of genre and creativity. The track is signed by the producers and her co-authors Marko Ćacić i Todor Tadic from Knowhere2Run studio in Podgorica, while the video accompanying “Star Kids”, which was directed by Dolce Hera herself, is the result of cooperation with a Montenegrin producer Rade Todorović.
Dolce Hera tells Vijesti about the new song...
Aleksandra, you describe your new single “Star Kids” as the embodiment of authorial freedom and play. Is it easier to create music without genre restrictions or can that be a double-edged sword?
When it comes to my creative work, the most important thing for me is not to let external factors influence the feeling that leads me to artistic creation. By this, I mean all those kinds of calculations that the music industry can impose as a pattern that is currently well received by the audience. I believe that this kind of engagement with music, in search of your original authentic version, represents true courage, but also an indicator of confidence in your own artistic potential. Music as art is one thing, while a trendy musical product is something that does not stimulate me to create.
You say this is your most intimate project so far. In what sense did it “bare” you the most?
In this solo music project, as you can see so far, I enjoy exploring musical genres. I've been into electro disco and Latin sounds, pop and some alt rock, and now the fifth single with a harder sound is, when it comes to my musical essence, my terrain. Musically, I'm a child of punk rock and I've been in those waters the longest as a drummer, and that's why "Star Kids" represents me most authentically. I'm especially happy that the drum parts explain what it means to be recognized for that instrument, while the vocal interpretation is certainly my greatest contribution so far.
You've released five singles so far, each with a distinct aesthetic and sound. Do you already see a clear line between them, a narrative thread?
Honestly, I already have so many songs in my drawer, considering that I'm working on the upcoming album. New ideas about its entirety are constantly being born and a lot of the songs have the potential to be singles, so I've already "taken" some that were initially supposed to be on the album off it, because I'm constantly creating and that narrative thread between them is becoming more magical. I want to round out the entirety in a way that will revolve around "Star Kids" and that sound.
The music industry today increasingly operates on the principles of algorithms, virality, and a uniform sound that easily passes by a wider audience. Because of this, authenticity often seems like a challenging choice, perhaps even a luxury. What does it mean for you to remain authentic in such an environment? Do you feel pressure to adapt or do you deliberately choose to build your path differently from everyone else?
I have never felt such pressure, because I started my project with maximum awareness of my musical identity. Only in this way is it possible to experiment with the role of a performer in different genres from a punk rock background as a musician. The audience should be able to perceive this unique personality of the artist and it means a lot to me to see that I am recognized by an international audience that has a very refined musical taste. In this sense, participating in the Montesong festival brought me incredible confirmations around the world that there is an audience that is very interested in my work and in a highly artistic product in general.
Your experience as a drummer certainly has a profound influence on the way you approach music. To what extent does rhythm, as the foundation of your musical identity, shape your authorial expression?
Very often, the lyrics I write get their melodic singing line after I do a drumming session in the studio and, as I like to say, after its first heartbeat. The singing lines are an extremely important part of my artistic expression, because I believe that the logic of the way I pronounce words and rhyme, and sometimes the way I break words, is specific to the reasoning of a drummer. I think this is most characteristic of rap music, and given that my co-writers and producers are especially versed in that genre, we combine and explore the horizons of our talents.
Bonus video:
