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Recorded live at the iconic Cafe Oto in London, this is the first recording of Solar Corona in their Elektrische Maschine version, an opportunity to separate the meat from the bone and reveal how the quartet knits its cosmic tapestry, authentic exploratory electronic flow without limits and without end.

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Conferência Inferno have been exploring the depths of post-punk over the last years, figuratively digging into the genre’s grimy trends for dark tones, and more literally casting its gothic undertones through ritualistic approaches, sacrificing the never-existing drummer to the gods of drum machines and delivering heart-felt, hell-raiser performances. Their delving went further down after the debut release Bazar Esotérico with their first LP Ata Saturna, which led to a remix album done by fellow cultists. It is thus safe to say the Porto-based trio are very much versed in the dark arts of electric rock, and punk diatribes, and are leading the genre in Portugal.

Pós-Esmeralda, released by Porto main agitators Lovers & Lollypops, sets the record straight regarding their wits, and sets them apart from fellow post-punkers, delivering a unique object in the space of goth music. Conferência Inferno have grown to develop a unique, still very much electronic, bright approach to their genre, bringing in more vivid tonalities to their music, and creating more cheerful melodies, imbuing the whole record with a snarky mood. This ongoing tension between dark thoughts, cheerful melodies, and murky bass finally matches the never-ending irony of their lyrics, where a learned knowledge of Portuguese coexists with the more colloquial and regional use of the language, making it both scholarly and working class, a quantum superposition mess that not many have been able to reach.

The joyful use of major chords sets the tone early in the record, with Raul Mendiratta’s synths and José Silva’s keyboards defying Francisco Lima’s howls of desperation. The first side is a crescent in melodies, as much as in dancing energy, with rhythmic exhilaration helped by syncopated synths, and notorious heavy frequencies. The second side of Pós-Esmeralda delves deeper into the dark minds of the trio, with slower, minor melodies depicting hallucinatory experiences that lead to post-punk, upbeat anthems Alma and utmost ironic Distopia.

Conferência Inferno reunited once again to cast the gothic enchantments, practice dark rituals and draw the astral map of post-punk. All planets are now in retrograde, all ascendents in Saturn, and the moon is set in all darkest positions, all dancing to the macabre invocations of the trio with their new age, new wave, new tuga approach to irony, bleakness, ecstasy, and smirks. Let us dance together then — because we’re all bodies.

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Pure and hard, that's how rock craves. The clattering of tough boots on worn gravel, guitars held high amidst thick smoke, snooker games where no one sinks the black, and over 666 beers spilled fraternally between body, floor, and counter, like the holiest of trinities, three elements of the same substance, of the same substances, for if the counter can bear the weight of the body, the body can endure the floor, there's no other choice.

Emerging at the peak of the pandemic, Cobrafuma is a troupe of Porto proto-veterans who heeded the Cobra's call amidst sketchy malls, bars with sticky floors, incarcerated by the damp rock wool that shields the outskirts.

In this first eponymous brawl, the sound is tough as steel and brimming with venom, slithering between genres that answer to no one: punk, thrash, and rock 'n' roll, hissed in Portuguese and liberally drenched in unlabeled firewater brandy, to shake your helmet as if there were no tomorrow.

Co-released in vinyl by Keroxen, Discrepant, Gandula, Indian Runners and Lovers & Lollypops. Released in CD in Japan by Moorworks and in Australia by Valve.

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A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

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The motoric return of Solar Corona turns minimal rock into an expansive, ever-churning psychedelic voyage in their newest offering, PACE.

The band's fifth release, PACE, shifts gears with Lorr No (Nuno Loureiro) hitching a ride as a dubmechanic that pulls the sound of Solar Corona's core trio—Rodrigo Carvalho (Guitar/synths), Peter Carvalho (drums), José Roberto Gomes (bass)—into an off-road expanse. The stripped-down songwriting reaches a new power through its simplicity.

The raw ideas of each track were jammed out in Alpendurada, a town deep in the Douro Valley. After a two-year distillation process the riffs and sonic materials have reached a concentration not unlike the alchemical moonshine native to Solar Corona's Portuguese North. Simple principles and steadfast mechanics become channeled into perennial journeys where speed & pace remain distinct.

Each track celebrates a specific element in its own way. The introductory Heavy Metal Salts establishes the pulsing impulse of PACE, with sparkling electroacoustic details bringing a lysergic dose to the climactic structure. The title-track Pace mellows out Solar Corona’s soundscape, and stands out as a space-mantra without riffs, solos, or the need to headbang. Guitar-led tracks such as Thrust and AU return to the in-the-red rock-n-roll that is a constant pulse in the veins of the band, before being injected by their new, more ethereal, sonic. The incessant groove of Parker SP built out of bouncing bass and straight-ahead drums provides the ground for the other members to lift-off into a spaced out atmospherics. Alpendurada closes the album in epic proportions as the band weaves in and out of knob-twisting psychedelia and instantly earwormed guitar melodies anchored by a propulsive bass.

Solar Corona's last two efforts, LIGHTNING ONE & SAINT-JEAN-DE-LUZ (both released in 2019), were also as a four-piece with Julius Gabriel's electroacoustic sax brought along for the journey. Gabriel's departure from the band in 2020, left a seat open for Lorr No (Fugly, Favela Discos) to bring his own patterned twist to the band's progressive stonerism. Solar Corona’s PACE takes its listener on an ambitious journey.

For fans of the expansive rock music of acts like Endless Boogie, Circle, Pharaoh Overlord, Hawkwind, and GNOD.

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There’s something familiar in the sounds that Angélica Salvi creates. In her previous record, Phantone, it was easy to get lost in the idea of nostalgia / past that could be listened coming from her harp. For Habitat, her second record, the approach is tremendously different. She doesn’t linger in the past, she expects you to fulfill the present side-by-side with her.

The idea was to create music that could be played and processed in real time. It is also the first time Angélica Salvi is working around the idea of songs – instead of pieces – and elaborating on narratives that suit that purpose. Recorded in May on her own studio – Garagem 16 -, Habitat is contemporary music with the essence of pop, in line with the likes of Mary Lattimore, Rhodri Davies or Nala Sinephro, musicians that in the last years paved the way for the instrument to be an important part of the conversation.

Contrary to many of her peers, Angélica doesn’t exactly try a genre approach. Her music is freer of those restraints and shows her freedom of thinking music as a musician but also as someone that has been working on film and constantly shows her creations more in the essence of sound than exactly music per se. The sounds of Habitat, since the first seconds of Nan, the opening song, are ethereal and melody focused, even if sometimes those melodies chase paths that are somehow labyrinthic.

That doesn’t mean that the listener gets lost. There’s always a guiding light. The choice for a more direct approach on this recording proves how clear, enlightened, and focused Angélica Salvi’s sounds is. There’s no tricks. Just something that sounds real, profound, where you can listen to Angélica’s hands moving and touching the strings. And be completely mesmerized as she continues to pursue melodies that guide the listener to the most beautiful of places.

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Deusa Náusea being intimately unusual, balances you as in the cradle of a feverish baby with its fragmented beauty and her delicacy that serpentines our brain. Polarised, reversed, perplexed, epithelialized by espectral processes and beleza pura. Chunks of voices chopped and minced in the metric drip leave you in continuous tele-transformation, by centrifuging our deepest interiors as if she would like to break with just enough strength the structural matrix of a song. Inês Malheiro, with her peripheral vision and a bouquet of Gerberas and Peonies, makes this day an anisotropic pleasure.

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Debut album by RA FA EL, solo project by Rafael Ferreira (Glockenwise, Evols, Septeto Interregional, Duquesa).

The eponymous EP grew from a constant collaboration with other artists and therefore, what was supposed to be a solo work, ended up being a kind of “big band”, where the various terminologies of pop music serve as a shelter for the six songs. Exploring and deepening Rafael Ferreira's work as a composer, the album features collaborations with Éme, Primeira Dama, Vítor Nuno Santos, Zé Pedro Vinagre, Tiago Ferreira and April Marmara.

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“Recomecemos tudo de novo” shouts A. Pedro Ribeiro as he unveils the new Sereias album, creating space for an abrasive guitar to wander over a persistent rhythm and keyboard incursions with jazz-rock reminiscences of the 70s. This is the motto for the new album, a new beginning where we find the free rock of the Sereias in all its splendor, a mixture of post-rock and kraut in continuous progression, tense, obsessive, overwhelming, with games of textures and winks to free-jazz, contemporary music and some tribalism. From this sonic cauldron comes the psychotic voice of A. Pedro Ribeiro, sometimes shouted, sometimes murmured, sometimes declaimed, sometimes choleric, sometimes depressive, and his raw poetry: a coffee shop poet throwing invectives against the world or sharing existential lamentations. Unlike “O País A Arder”, their debut album, there are fewer buzzwords here, like “quero um primeiro-ministro para comer ao pequeno-almoço (I want a prime minister to eat for breakfast)” or “as putas da tv (the whores on TV)”, and greater despair in the face of to the world, with musical ambiences gaining prominence and an unexpected space, as in “Las Cadenas” – where electronically trafficked voices draw strict sound narratives – and the litanies recited are repeated over and over again, underlining the sensation of loss and the melancholy and anguished tone that runs throughout the record. “Ela vem, volta sempre, a depressão (she comes, she always comes back, the depression)”, as A. Pedro Ribeiro exhaustively repeats, abandoning himself to the fado of social inadaptation and affective needs that make him fall “no fundo do copo, no fundo do abismo (at the bottom of the glass, at the bottom of the abyss)” amongst rags of melody. And the apocalyptic visions or the warnings that “a coisa vai estoirar (things are going to blow)” are worthless, supported by a rhythmic crescendo of explosive plots, because the destiny is already set: “voltar, voltar sempre (come back, always come back)”. And how good is this return! At a time when Portuguese music mostly navigates a modernized national-songwriting disguised as pop, it’s a blessing to hear these Sereias and their disruptive chimera in the form of music, where creation is a vital and urgent impulse.

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Do Claro ao Breu is designed as an object of contrasts, integrating two antagonistic and independent compositions, as if they were a representation of day and of night. Side A, more luminous, is part of the work that the collective carried out with the dancer and choreographer José Artur Campos for the sound design of the short video dance Meia de Leite. A composition where the polyphony of voices, rich in atmospheres and landscapes, begins a dialogue with Eugénio de Andrade’s poetry. A universe of enchanting mists serving as a fabric for some of the most frequent images of Portuguese tradition: hands, fruits, seasons, connection to the earth and cycles. Side B turns us towards the dark and the nocturnal, spaces where fears and superstitions roam, on a journey around sinister and grotesque elements of traditional popular imagination. This composition results from the collaboration of Sopa de Pedra with the Porto collective Oficina Arara, where the proposal was to set to music texts inspired by popular superstitions that have now disappeared or are residual, more specifically some prayers, poems and blessings.

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Intricate hocketing, call and response, and layers of ostinati become the means with which COBRACORAL engenders their distinctive sonic texture: a latticework for the voice. While one voice may insist on a two-tone melodic fragment, another may occupy itself with the rhythmic spaces left unvoiced by the first, so that a harmonic base is constructed for the third to shimmer. COBRACORAL further explores the potential of the voice by using sound effects and gesture to amplify the aural experience, suggesting that the limits of the voice extend out into electric and corporeal realms. The movements of the body also modulate the sound, as does as an artificial echo, a delay or a pitch shift. A modern vocal trio, COBRACORAL is both electrified and electrifying.

Geometric patterns color the surface that makes up COBRACORAL, like the species of snakes from which they take their name. Each song develops its own breathing pattern: a communal rite focusing in on the movement of air, where motifs of inhalation and exhalation become systems that unfold time onto vocalized expression. A careful observation of the temporal passage of respiration, of its playful and life-sustaining dynamics, is their practice of communion. There is a common responsibility held in this spirited patchwork. Ritualistic chant, hypnagogic cycles, and contemporary vocal techniques shape the rhythmic, imagistic and narrative landscape that is COBRACORAL.

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Few things are left to chance when it comes to CZN, the percussion-heavy project where prodigy rhythm shamans Valentina Magaletti and João Pais Filipe converge along with producer Leon Marks. Although intuition does play an intricate part in their outputs, it is the result of years of training picking different directions in rhythmic patterns that plays the bigger role in their latest Commutator. The path is clear, but the options are not as narrow as the creative decisions to avoid: 4:4 and other obvious patterns are forbidden coordinates, as well as the traditional drum kit and its limitations.

By exploring the numerous possibilities enabled by two drums kits reimagined from scratch and an array of copper-zink-nickel gongs and cymbals forged by Pais Filipe (the reasoning behind the CZN name), the group creates trance-like pieces that defy circularity, and create enticing movements to defy boredom. The listener is dared to dance, rather than invited to do so, being guided through a series of accelerations, decelerations and dynamic narratives where drumming intertwines perfectly with the environments produced by Marks via dub and non-melodic elements.

Throughout the two pieces of Commutator, the rule becomes the avoidance of norm. Torpor, as well as the obvious, becomes the only real tendency to avoid. This long-play comes out as the symbiotic output of two percussionists who are akin despite having trailed such different paths, perfectly merged in ever-shifting electronic landscapes. It is a standalone document, valuable by itself and with a growing interest in a proper context.

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Maps establish a place, a world that we may or may not be part of, but which is known to some extent. There will always be a border, a limit, a place where things are unknown and where they can only be speculated.

Vozes Antenas Fragas, Montes' debut album, is a cartography divided into four parts by the duo formed by Kauê Gindri and Arianna Casellas. Together, they wind and unwind a disheveled skein of sounds through images drawn through mysterious city fogs mountain peaks that until they can be reached, live only in the land of desire.

Globetrotter record, Vozes Antenas Fragas arises from communal work, driven by confinement and inspired by the view of the mountains on the horizon that gave a name to the band. A synoptic picture where light, shadow and gestures dance. Four whirlwinds songs that reveal free choreographies of color, rhythm and timbre.

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Created in response to an invitation addressed by Musicbox to Lovers & Lollypops, this album records the collaborative creation of Septeto Interregional, composed of six musicians from different parts of the country, Arianna Casellas (Sereias), Mr. Gallini (Stone Dead), Rafael Ferreira (Glockenwise), Rodrigo Carvalho (Solar Corona), Violeta Azevedo (Savage Ohms) and Zezé Cordeiro (Equations), and a graphic designer, Serafim Mendes.

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Candor, control and kindness are characteristics of SamuelMartins Coelho’s second solo album, “Cura”. They also describe the symbiotic meeting between jazz, classical/contemporary and folk/country. The song titles elucidate the reconciliation with life in times of pandemic – “Healing”, “Breathing”, “Wind”, “Skin”, or “Earth” – and what you hear in them feels like the tension and the uncertainty of a musician who wants to go out and grow.
Samuel's career has – so far – gone through several projects and participations, whether as a musician or composer, in 2019 he expressed the desire to create in his own name and publish a solo album – “Partita Para Violino Solo” – with the instrument he led him to all this, the violin. Two years later, “Cura” is synonymous with growth and comfort, whether with the material side, the violin and guitar that accompanies it, or with what can be considered more spiritual, that of creation and self-realization as a composer.
Healing doesn’t have to be a heavy process. Search traces – confusion? – which appear designed in some themes, such as “Vento”, sound like dialogues between Samuel Martins Coelho and the listener and not internal searches. As if the alleys that the pandemic placed in all of our heads came out to communicate with each other. The sound communicates a plain of discomfort and anxiety but, eventually, it stops being just about the musician, who performs, and becomes about us, on this side. And, in the end, about everyone.
That is the wonder of sharing “Healing”. A continuous act of discovery and performance, between Penguin Cafe Orchestra, Max Richter and Jóhann Jóhannsson, in which the musician uses isolation and the coexistence – or lack thereof – of restrictions, to create a clear language that can be heard as community music. There is goodness and gentleness in all these sounds. In “Awakening”, the last song, Samuel Martins Coelho seems to want to say that the cure has finally come to an end. Perhaps for you, for us, it has only just begun.

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After the rubble found in the Esoteric Bazaar, that revealed the outline of an anarcho-religious ritual inspired by the teachings of darkwave post punk spiritists,Ata Saturna was found, with a blurred reading but which identifies 3 scientists (Francisco Lima, Raúl Mendiratta and José Miguel Silva) tasked with synthesizing a robotic figure, more conscious and sentient than his human contemporaries.

According to the first reports of those who had contact with Ata Saturna, the experimental scientists, apparently driven by sadistic intoxication, created an entity especially capable of encountering disillusionment. Anyone who has come across this being describes a new messiah, who brings new nihilists in simple and captivating melodies, constantly shouting that 'the apocalypse has already happened, destiny has been fulfilled, anarchy has been contained, tomorrow is not a promise, anxiety is perpetual, the sun never rises here.'

The ingenious invention, commissioned with the aim of addicting humans to their most basic contradictions, was tested confidentially and the results, now available to the world, show that the planet may have more empathetic constructions than its creators. The ideologues of Conferência Inferno believe that only a mirror in our dehumanization will humanize us and we will only be saved when every day is an ode to the god Saturn and slaves exchange places with their masters.

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Gustavo Costa is a musician and artist with countless talents. His work is guided by a constant exploration of the limits of listening. He had musical training from an early age, but his journey far transcends the boundaries of music. He’s a drummer, but also an instrument builder, creator of new sounds, sound sculptor, teacher, programmer and – we would say – a generous promoter of Portuguese contemporary music and sound art. All this without ever losing focus or pointing the lights in your direction.

Perhaps this is why, only now, after 30 years of intense connection with the musical universe, diverse collaborations and extraordinary creations, Gustavo decided to present his first solo album with the instrument that has accompanied him since he was a child – drums and percussions. Entropies and Mimetic Patterns is a surprising record, which gives us the sensation of patient, meticulous concentration, as if his entire trajectory had converged to it. To entropy, which represents disorder and randomness, Gustavo responds with patterns that link gesture and emotion and that provoke a feeling of presence, of closeness. He’s just a musician in front of his instrument, but the communion remains, as if once again, it was the share that guided his purposes.

It’s with this exploratory sensitivity that this album is made of, a personal record where Gustavo organizes chaos and percussive energy into complex and unexpected rhythms, a reflection of his particular sonic universe into which we are invited to enter.

10th aniversary reissue

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At the end of Vox Flora, Vox Fauna’s eight songs, Ece Canlı proves the ability to shorten distances between the most heavenly landscape and the harshest scenery. The Turkish artist – who currently lives in Porto – incorporates her voice in environments that seem contrasting on paper but that form harmony in the musical construction she gives them. The way Ece Canlı works with her voice advances in favor of a constant drive throughout Vox Flora, Vox Fauna.

She has created landscapes in other projects – Nooito, Live Low and Cobra’Coral –, solo, Ece Canlı insists and consistently repeats that it’s still possible to create unique narratives, working with ideas of extremes in the middle. That is, it’s constantly celebrating points that unite styles, seeking influences from traditional folk ideas/constructions, working them through an electronic-experimental prism and playing all of this with the sense of natural music, sounds that, instead of replicating nature, are demonstrations of landscapes, climates, experiences.

Through this sound structure, Ece Canlı brings the listener closer to her surroundings. The environments are a gateway, the voice – how you use it, how you create languages and create poetry without linguistic and formal boundaries – is the element that captures and redirects the sensations through these songs inhabited by the generosity and violence of human's relationship with nature. Nature as everything that is around and that changes and adapts.

Vox Flora, Vox Fauna avoids existing as an album of heaven and hell, of light and darkness, of opposites. It brings them closer, celebrates them, integrates them into crystal clear and lively songs. Ece Canlı's voice is an invitation for those on the other side – the listeners – to enter this world and be part of it.

With five songs recorded remotely, before and during the pandemic, the Lisbon collective's album was not born as usual. It didn't start with unbridled improvisation and then was "regulated" in post-production, on the contrary, there was more improvisation in the mixing phase than in the first moments. Loops, percussion, basses, synthesizers, voices, guitars, traveled in cyberspace overlapping each other, without anyone feeling a lack of space or rushing. Singular circumstances adverse to the communion and anxiety that characterized the band's sound and even rock in other times, but which allowed for more individual freedoms. Proof of this, Kill Screen is the album with the "best sound" of all the Loosers' albums and with details, that the band once undervalued, receiving increased attention.

Kill Screen is an album from a time when it is not easy to process all the information and misinformation and instead of discussing politics we continually discuss whether the earth is flat, whether vaccines cause autism, whether racism and machismo exist, while we are living realities intangibles in dependence on tech giants and in front of screens.

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Following the rich tradition of experimentation in the field of Black Metal and surrounded by the aura of mystery and mystery that characterized the genre since its beginnings, Bríi elevates music with extreme contours to a whole new level. A mix of textures - atmospheric, electronic and traditional Brazilian sounds - transforms his debut in Entre Tudo que é Visto e Oculto into a kind of one-man magnum opus.

The coldness and rawness of the desolate sound contrasts, here, with the balance and naturalness of tropicalismo, in a tenuous, but precise balance between the cutting and dogmatic sound of metal, the richness of Brazilian percussion and the shattered and lost sounds of a any dance floor.

Entre Tudo que é Visto e Oculto is an album of refractory ideology, a multifaceted and liminal debut that balances the austere and the solemn, the passionate and the cold, traveling through long atmospheric landscapes, folk-inflected progressions and paths with tonitruating contours.

Four songs where the intense, heavy and opaque sound sits comfortably at the entrance of an almost dreamlike territory, in a kind of waiting game for the imminent entry of the most extreme reinforcements of the composition.

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In paranormal lore, Paisiel is, quote, “a guardian angel responsible for the seventh heavenly hall.” Rocket Recordings’ experimental duo Paisiel, meanwhile, contain a Pais – João Pais Filipe, Portuguese drummer and lynchpin of the country’s experimental music subculture – and an -iel: Julius Gabriel, German saxophonist relocated to Porto and, too, embedded in that scene. Which is to say that their chosen name is as specific and singular as the music they make together, as heard on their latest album ‘Unconscious Death Wishes’.

This latest work represents a progression from what was already forward-facing music. ‘Unconscious Death Wishes’ is a single 39-minute piece, laid down live in the studio and subject to minimal edits only (for the constraints of the LP format, plus some field recordings from Porto and Berlin mixed in at the piece’s intro and outro). Julius thinks of it as “instant composition” – improvised, but based on composed structures.

Though ‘Unconscious Death Wishes’ feels funereal and dungeon-bound as it emerges quietly from the undergrowth, together Paisiel evolve and build. Soon, we’re dealing with an array of percussion and wordless vocal exhortations – the latter Julius’ way of reacting to João’s drum performance. Stern avant-electro synths call to mind 1980s Cabaret Voltaire or even Muslimgauze, the late DIY electronic composer who Paisiel list as one of their foremost influences. Julius’ gloriously expansive saxophone playing is inspired by names such as Rahsaan Roland Kirk and Dewey Redman, while his bandmate is locked and loose in equal measure here: time-whisk João to a late 60s proto-Krautrock cafeteria jam, early 70s New York loft jazz happening or Brazilian street parade from whichever decade takes your fancy and this dude could hold his own / hold it down.

After the weird-party vibes have taken hold, the beats start to hit harder, more industrial almost; Julius sustains notes for longer durations and then, before you know it, everything’s spinning off into Chaos Central. Ecstasy remains detectable at the core of this music, but is all well? Paisiel play music to transcend such earthly concerns: ‘Unconscious Death Wishes’ is their way of evoking, in Julius’ words, “landscapes, shapes, colours, proportions and movements”.

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Mariano de Melo, aka Marian Sarine, is a multi-instrumentalist, active as the drummer/percussionist for DEAFKIDS, playing synths and percussions live with the electronic vanguard artist Felinto, and as a solo artist (under the moniker of Sarine).

The album is based in old and new themes, recorded in an old Brazilian organ from the 80's. By making use of a few arpeggio patterns (namely 'Jazz Rock' and '16 Beat'), in improvisational detours which take off from the juxtaposition of rhythmic ideas over such patterns, I use them as starting point to achieve other groove possibilities, incorporating the overlaid notes the organ adds as another improvisational element, in a kind of a self-jam. The record drives inspiration from several sources, such as Charanjit Singh's experiments on modernizing traditional North-Indian ragas to an electronic setting, as well as master organist/synth players from different parts of Africa, like Hailu Mergia, Mammane Sani and Hama.
The album also deals with the manipulation of limited resources, posed by the quarantine period, through a lo-fi perspective which takes into consideration the urgency and restriction that seep through the present moment. 

The result of a predestined collision course between two modern day forces of iconoclasm, ‘Faca De Fogo’ is a rhythmically driven journey into soundscapes mercurial, savage and disquieting. Here a Mancunian-birthed counter cultural sound collective and a Porto-based master of percussive divination join forces, resulting in mystical trance states and elemental epiphanies aplenty.

GNOD first met up with João Pais Filipe at the Milhoes De Festa event in Barcelos, initially intrigued by a gong he’d made in the shape of a skateboard which formed part of an exhibition. They were soon introduced, and a plan was formulated apparently of its own volition to work together, subsequently co-ordinated by the Porto-based label and promoters Lovers & Lollypops around a week spent by GNOD in Porto. Three days of rehearsals led to the basic structures that were explored at an incendiary show in the city, which were in turn subsequently recorded over four days in João’s metal workshop with minimal overdubbing, forming a powerful portrait of the sparks that flew and the fire they created.

Forged in a spirit of spontaneity and intuition, ‘Faca De Fogo’ wastes precisely zero time in manifesting this incendiary chemistry between these two explorers of mantras and repetitive revelation. Themed around the elements in thematic unity with the alchemical nature of João’s practice, it runs a gamut of improvisatory exploration from the eerie atmospherics that introduce ‘Faca De Terra’ via the polyrhythmic kraut-damaged mania of ‘Face De Ar’ to the shamanic and bleak Swans-esque clangour of the title track.

‘Faca De Fogo’ is a soundworld without barriers, a meeting of minds and mallets in which the duality at its core is subsumed into a singular force as primal as it is metaphysical. 

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Duas Vozes is the solo debut album of Portuguese composer and artist Pedro Augusto. With six themes of non-operative music, whose sole purpose is to build a musical program that could be performed live without programming, Duas Vozes has a very frontal, lively and dynamic sound.

Written from two monophonic sequences of a modular synthesizer, it marks the beginning of a series of editions that will evolve from the initial object through the addition of new instruments. Visual music that physically results in a video-album-trip, where Pedro Augusto's music is deposited in the images created by Rafael Gonçalves.

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<iframe style="border: 0; width: 100%; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=1273480747/size=large/bgcol=ffffff/linkcol=0687f5/artwork=none/transparent=true/" seamless><a href="http://store.loversandlollypops.net/album/carnaval-de-natal">Carnaval de Natal by V/A</a></iframe>

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Riding Pânico - Homen Elefante by ragingplanet

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Drugs by Youthless

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#018 Alto! - See you in Hell Ron!
#017 Quit - Trains EP
#016 Feia Medronho - Pinta Natural
#015 The Astroboy - A Derrota da Engrenagem
#014 DOPO - For the Entrance of The Sun
#013 Lovers & Lollypops - 1 Ano de Bailarico
#012 Veados Com Fome - Veados Com Fome
#011 Frango + Dansse Damaje - Fuentezfuentezfuentez
#010 EYE8SOCCER - Total Fucking Drawkness
#009 Le Jonathan Reilly - The Singles
#008 Dead Man On Campus    - CDR
#007 Green Machine - Themes for the Hidebounds
#006 Veados Com Fome - Lobster/Veados com Fome split
#005 Veados Com Fome - Vol.# 3
#004 Veados Com Fome - EP
#003 Sikhara + OvO - Split
#002 Fish & Sheep + Tropa Macaca - Para o Inferno com Eles
#001 Green Machine - Green Machine
 

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Recorded live at the iconic Cafe Oto in London, this is the first recording of Solar Corona in their Elektrische Maschine version, an opportunity to separate the meat from the bone and reveal how the quartet knits its cosmic tapestry, authentic exploratory electronic flow without limits and without end.

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Conferência Inferno have been exploring the depths of post-punk over the last years, figuratively digging into the genre’s grimy trends for dark tones, and more literally casting its gothic undertones through ritualistic approaches, sacrificing the never-existing drummer to the gods of drum machines and delivering heart-felt, hell-raiser performances. Their delving went further down after the debut release Bazar Esotérico with their first LP Ata Saturna, which led to a remix album done by fellow cultists. It is thus safe to say the Porto-based trio are very much versed in the dark arts of electric rock, and punk diatribes, and are leading the genre in Portugal.

Pós-Esmeralda, released by Porto main agitators Lovers & Lollypops, sets the record straight regarding their wits, and sets them apart from fellow post-punkers, delivering a unique object in the space of goth music. Conferência Inferno have grown to develop a unique, still very much electronic, bright approach to their genre, bringing in more vivid tonalities to their music, and creating more cheerful melodies, imbuing the whole record with a snarky mood. This ongoing tension between dark thoughts, cheerful melodies, and murky bass finally matches the never-ending irony of their lyrics, where a learned knowledge of Portuguese coexists with the more colloquial and regional use of the language, making it both scholarly and working class, a quantum superposition mess that not many have been able to reach.

The joyful use of major chords sets the tone early in the record, with Raul Mendiratta’s synths and José Silva’s keyboards defying Francisco Lima’s howls of desperation. The first side is a crescent in melodies, as much as in dancing energy, with rhythmic exhilaration helped by syncopated synths, and notorious heavy frequencies. The second side of Pós-Esmeralda delves deeper into the dark minds of the trio, with slower, minor melodies depicting hallucinatory experiences that lead to post-punk, upbeat anthems Alma and utmost ironic Distopia.

Conferência Inferno reunited once again to cast the gothic enchantments, practice dark rituals and draw the astral map of post-punk. All planets are now in retrograde, all ascendents in Saturn, and the moon is set in all darkest positions, all dancing to the macabre invocations of the trio with their new age, new wave, new tuga approach to irony, bleakness, ecstasy, and smirks. Let us dance together then — because we’re all bodies.

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Pure and hard, that's how rock craves. The clattering of tough boots on worn gravel, guitars held high amidst thick smoke, snooker games where no one sinks the black, and over 666 beers spilled fraternally between body, floor, and counter, like the holiest of trinities, three elements of the same substance, of the same substances, for if the counter can bear the weight of the body, the body can endure the floor, there's no other choice.

Emerging at the peak of the pandemic, Cobrafuma is a troupe of Porto proto-veterans who heeded the Cobra's call amidst sketchy malls, bars with sticky floors, incarcerated by the damp rock wool that shields the outskirts.

In this first eponymous brawl, the sound is tough as steel and brimming with venom, slithering between genres that answer to no one: punk, thrash, and rock 'n' roll, hissed in Portuguese and liberally drenched in unlabeled firewater brandy, to shake your helmet as if there were no tomorrow.

Co-released in vinyl by Keroxen, Discrepant, Gandula, Indian Runners and Lovers & Lollypops. Released in CD in Japan by Moorworks and in Australia by Valve.

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A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

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The motoric return of Solar Corona turns minimal rock into an expansive, ever-churning psychedelic voyage in their newest offering, PACE.

The band's fifth release, PACE, shifts gears with Lorr No (Nuno Loureiro) hitching a ride as a dubmechanic that pulls the sound of Solar Corona's core trio—Rodrigo Carvalho (Guitar/synths), Peter Carvalho (drums), José Roberto Gomes (bass)—into an off-road expanse. The stripped-down songwriting reaches a new power through its simplicity.

The raw ideas of each track were jammed out in Alpendurada, a town deep in the Douro Valley. After a two-year distillation process the riffs and sonic materials have reached a concentration not unlike the alchemical moonshine native to Solar Corona's Portuguese North. Simple principles and steadfast mechanics become channeled into perennial journeys where speed & pace remain distinct.

Each track celebrates a specific element in its own way. The introductory Heavy Metal Salts establishes the pulsing impulse of PACE, with sparkling electroacoustic details bringing a lysergic dose to the climactic structure. The title-track Pace mellows out Solar Corona’s soundscape, and stands out as a space-mantra without riffs, solos, or the need to headbang. Guitar-led tracks such as Thrust and AU return to the in-the-red rock-n-roll that is a constant pulse in the veins of the band, before being injected by their new, more ethereal, sonic. The incessant groove of Parker SP built out of bouncing bass and straight-ahead drums provides the ground for the other members to lift-off into a spaced out atmospherics. Alpendurada closes the album in epic proportions as the band weaves in and out of knob-twisting psychedelia and instantly earwormed guitar melodies anchored by a propulsive bass.

Solar Corona's last two efforts, LIGHTNING ONE & SAINT-JEAN-DE-LUZ (both released in 2019), were also as a four-piece with Julius Gabriel's electroacoustic sax brought along for the journey. Gabriel's departure from the band in 2020, left a seat open for Lorr No (Fugly, Favela Discos) to bring his own patterned twist to the band's progressive stonerism. Solar Corona’s PACE takes its listener on an ambitious journey.

For fans of the expansive rock music of acts like Endless Boogie, Circle, Pharaoh Overlord, Hawkwind, and GNOD.

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There’s something familiar in the sounds that Angélica Salvi creates. In her previous record, Phantone, it was easy to get lost in the idea of nostalgia / past that could be listened coming from her harp. For Habitat, her second record, the approach is tremendously different. She doesn’t linger in the past, she expects you to fulfill the present side-by-side with her.

The idea was to create music that could be played and processed in real time. It is also the first time Angélica Salvi is working around the idea of songs – instead of pieces – and elaborating on narratives that suit that purpose. Recorded in May on her own studio – Garagem 16 -, Habitat is contemporary music with the essence of pop, in line with the likes of Mary Lattimore, Rhodri Davies or Nala Sinephro, musicians that in the last years paved the way for the instrument to be an important part of the conversation.

Contrary to many of her peers, Angélica doesn’t exactly try a genre approach. Her music is freer of those restraints and shows her freedom of thinking music as a musician but also as someone that has been working on film and constantly shows her creations more in the essence of sound than exactly music per se. The sounds of Habitat, since the first seconds of Nan, the opening song, are ethereal and melody focused, even if sometimes those melodies chase paths that are somehow labyrinthic.

That doesn’t mean that the listener gets lost. There’s always a guiding light. The choice for a more direct approach on this recording proves how clear, enlightened, and focused Angélica Salvi’s sounds is. There’s no tricks. Just something that sounds real, profound, where you can listen to Angélica’s hands moving and touching the strings. And be completely mesmerized as she continues to pursue melodies that guide the listener to the most beautiful of places.

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Deusa Náusea being intimately unusual, balances you as in the cradle of a feverish baby with its fragmented beauty and her delicacy that serpentines our brain. Polarised, reversed, perplexed, epithelialized by espectral processes and beleza pura. Chunks of voices chopped and minced in the metric drip leave you in continuous tele-transformation, by centrifuging our deepest interiors as if she would like to break with just enough strength the structural matrix of a song. Inês Malheiro, with her peripheral vision and a bouquet of Gerberas and Peonies, makes this day an anisotropic pleasure.

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Debut album by RA FA EL, solo project by Rafael Ferreira (Glockenwise, Evols, Septeto Interregional, Duquesa).

The eponymous EP grew from a constant collaboration with other artists and therefore, what was supposed to be a solo work, ended up being a kind of “big band”, where the various terminologies of pop music serve as a shelter for the six songs. Exploring and deepening Rafael Ferreira's work as a composer, the album features collaborations with Éme, Primeira Dama, Vítor Nuno Santos, Zé Pedro Vinagre, Tiago Ferreira and April Marmara.

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“Recomecemos tudo de novo” shouts A. Pedro Ribeiro as he unveils the new Sereias album, creating space for an abrasive guitar to wander over a persistent rhythm and keyboard incursions with jazz-rock reminiscences of the 70s. This is the motto for the new album, a new beginning where we find the free rock of the Sereias in all its splendor, a mixture of post-rock and kraut in continuous progression, tense, obsessive, overwhelming, with games of textures and winks to free-jazz, contemporary music and some tribalism. From this sonic cauldron comes the psychotic voice of A. Pedro Ribeiro, sometimes shouted, sometimes murmured, sometimes declaimed, sometimes choleric, sometimes depressive, and his raw poetry: a coffee shop poet throwing invectives against the world or sharing existential lamentations. Unlike “O País A Arder”, their debut album, there are fewer buzzwords here, like “quero um primeiro-ministro para comer ao pequeno-almoço (I want a prime minister to eat for breakfast)” or “as putas da tv (the whores on TV)”, and greater despair in the face of to the world, with musical ambiences gaining prominence and an unexpected space, as in “Las Cadenas” – where electronically trafficked voices draw strict sound narratives – and the litanies recited are repeated over and over again, underlining the sensation of loss and the melancholy and anguished tone that runs throughout the record. “Ela vem, volta sempre, a depressão (she comes, she always comes back, the depression)”, as A. Pedro Ribeiro exhaustively repeats, abandoning himself to the fado of social inadaptation and affective needs that make him fall “no fundo do copo, no fundo do abismo (at the bottom of the glass, at the bottom of the abyss)” amongst rags of melody. And the apocalyptic visions or the warnings that “a coisa vai estoirar (things are going to blow)” are worthless, supported by a rhythmic crescendo of explosive plots, because the destiny is already set: “voltar, voltar sempre (come back, always come back)”. And how good is this return! At a time when Portuguese music mostly navigates a modernized national-songwriting disguised as pop, it’s a blessing to hear these Sereias and their disruptive chimera in the form of music, where creation is a vital and urgent impulse.

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Do Claro ao Breu is designed as an object of contrasts, integrating two antagonistic and independent compositions, as if they were a representation of day and of night. Side A, more luminous, is part of the work that the collective carried out with the dancer and choreographer José Artur Campos for the sound design of the short video dance Meia de Leite. A composition where the polyphony of voices, rich in atmospheres and landscapes, begins a dialogue with Eugénio de Andrade’s poetry. A universe of enchanting mists serving as a fabric for some of the most frequent images of Portuguese tradition: hands, fruits, seasons, connection to the earth and cycles. Side B turns us towards the dark and the nocturnal, spaces where fears and superstitions roam, on a journey around sinister and grotesque elements of traditional popular imagination. This composition results from the collaboration of Sopa de Pedra with the Porto collective Oficina Arara, where the proposal was to set to music texts inspired by popular superstitions that have now disappeared or are residual, more specifically some prayers, poems and blessings.

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Intricate hocketing, call and response, and layers of ostinati become the means with which COBRACORAL engenders their distinctive sonic texture: a latticework for the voice. While one voice may insist on a two-tone melodic fragment, another may occupy itself with the rhythmic spaces left unvoiced by the first, so that a harmonic base is constructed for the third to shimmer. COBRACORAL further explores the potential of the voice by using sound effects and gesture to amplify the aural experience, suggesting that the limits of the voice extend out into electric and corporeal realms. The movements of the body also modulate the sound, as does as an artificial echo, a delay or a pitch shift. A modern vocal trio, COBRACORAL is both electrified and electrifying.

Geometric patterns color the surface that makes up COBRACORAL, like the species of snakes from which they take their name. Each song develops its own breathing pattern: a communal rite focusing in on the movement of air, where motifs of inhalation and exhalation become systems that unfold time onto vocalized expression. A careful observation of the temporal passage of respiration, of its playful and life-sustaining dynamics, is their practice of communion. There is a common responsibility held in this spirited patchwork. Ritualistic chant, hypnagogic cycles, and contemporary vocal techniques shape the rhythmic, imagistic and narrative landscape that is COBRACORAL.

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Few things are left to chance when it comes to CZN, the percussion-heavy project where prodigy rhythm shamans Valentina Magaletti and João Pais Filipe converge along with producer Leon Marks. Although intuition does play an intricate part in their outputs, it is the result of years of training picking different directions in rhythmic patterns that plays the bigger role in their latest Commutator. The path is clear, but the options are not as narrow as the creative decisions to avoid: 4:4 and other obvious patterns are forbidden coordinates, as well as the traditional drum kit and its limitations.

By exploring the numerous possibilities enabled by two drums kits reimagined from scratch and an array of copper-zink-nickel gongs and cymbals forged by Pais Filipe (the reasoning behind the CZN name), the group creates trance-like pieces that defy circularity, and create enticing movements to defy boredom. The listener is dared to dance, rather than invited to do so, being guided through a series of accelerations, decelerations and dynamic narratives where drumming intertwines perfectly with the environments produced by Marks via dub and non-melodic elements.

Throughout the two pieces of Commutator, the rule becomes the avoidance of norm. Torpor, as well as the obvious, becomes the only real tendency to avoid. This long-play comes out as the symbiotic output of two percussionists who are akin despite having trailed such different paths, perfectly merged in ever-shifting electronic landscapes. It is a standalone document, valuable by itself and with a growing interest in a proper context.

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Maps establish a place, a world that we may or may not be part of, but which is known to some extent. There will always be a border, a limit, a place where things are unknown and where they can only be speculated.

Vozes Antenas Fragas, Montes' debut album, is a cartography divided into four parts by the duo formed by Kauê Gindri and Arianna Casellas. Together, they wind and unwind a disheveled skein of sounds through images drawn through mysterious city fogs mountain peaks that until they can be reached, live only in the land of desire.

Globetrotter record, Vozes Antenas Fragas arises from communal work, driven by confinement and inspired by the view of the mountains on the horizon that gave a name to the band. A synoptic picture where light, shadow and gestures dance. Four whirlwinds songs that reveal free choreographies of color, rhythm and timbre.

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Created in response to an invitation addressed by Musicbox to Lovers & Lollypops, this album records the collaborative creation of Septeto Interregional, composed of six musicians from different parts of the country, Arianna Casellas (Sereias), Mr. Gallini (Stone Dead), Rafael Ferreira (Glockenwise), Rodrigo Carvalho (Solar Corona), Violeta Azevedo (Savage Ohms) and Zezé Cordeiro (Equations), and a graphic designer, Serafim Mendes.

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Candor, control and kindness are characteristics of SamuelMartins Coelho’s second solo album, “Cura”. They also describe the symbiotic meeting between jazz, classical/contemporary and folk/country. The song titles elucidate the reconciliation with life in times of pandemic – “Healing”, “Breathing”, “Wind”, “Skin”, or “Earth” – and what you hear in them feels like the tension and the uncertainty of a musician who wants to go out and grow.
Samuel's career has – so far – gone through several projects and participations, whether as a musician or composer, in 2019 he expressed the desire to create in his own name and publish a solo album – “Partita Para Violino Solo” – with the instrument he led him to all this, the violin. Two years later, “Cura” is synonymous with growth and comfort, whether with the material side, the violin and guitar that accompanies it, or with what can be considered more spiritual, that of creation and self-realization as a composer.
Healing doesn’t have to be a heavy process. Search traces – confusion? – which appear designed in some themes, such as “Vento”, sound like dialogues between Samuel Martins Coelho and the listener and not internal searches. As if the alleys that the pandemic placed in all of our heads came out to communicate with each other. The sound communicates a plain of discomfort and anxiety but, eventually, it stops being just about the musician, who performs, and becomes about us, on this side. And, in the end, about everyone.
That is the wonder of sharing “Healing”. A continuous act of discovery and performance, between Penguin Cafe Orchestra, Max Richter and Jóhann Jóhannsson, in which the musician uses isolation and the coexistence – or lack thereof – of restrictions, to create a clear language that can be heard as community music. There is goodness and gentleness in all these sounds. In “Awakening”, the last song, Samuel Martins Coelho seems to want to say that the cure has finally come to an end. Perhaps for you, for us, it has only just begun.

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After the rubble found in the Esoteric Bazaar, that revealed the outline of an anarcho-religious ritual inspired by the teachings of darkwave post punk spiritists,Ata Saturna was found, with a blurred reading but which identifies 3 scientists (Francisco Lima, Raúl Mendiratta and José Miguel Silva) tasked with synthesizing a robotic figure, more conscious and sentient than his human contemporaries.

According to the first reports of those who had contact with Ata Saturna, the experimental scientists, apparently driven by sadistic intoxication, created an entity especially capable of encountering disillusionment. Anyone who has come across this being describes a new messiah, who brings new nihilists in simple and captivating melodies, constantly shouting that 'the apocalypse has already happened, destiny has been fulfilled, anarchy has been contained, tomorrow is not a promise, anxiety is perpetual, the sun never rises here.'

The ingenious invention, commissioned with the aim of addicting humans to their most basic contradictions, was tested confidentially and the results, now available to the world, show that the planet may have more empathetic constructions than its creators. The ideologues of Conferência Inferno believe that only a mirror in our dehumanization will humanize us and we will only be saved when every day is an ode to the god Saturn and slaves exchange places with their masters.

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Gustavo Costa is a musician and artist with countless talents. His work is guided by a constant exploration of the limits of listening. He had musical training from an early age, but his journey far transcends the boundaries of music. He’s a drummer, but also an instrument builder, creator of new sounds, sound sculptor, teacher, programmer and – we would say – a generous promoter of Portuguese contemporary music and sound art. All this without ever losing focus or pointing the lights in your direction.

Perhaps this is why, only now, after 30 years of intense connection with the musical universe, diverse collaborations and extraordinary creations, Gustavo decided to present his first solo album with the instrument that has accompanied him since he was a child – drums and percussions. Entropies and Mimetic Patterns is a surprising record, which gives us the sensation of patient, meticulous concentration, as if his entire trajectory had converged to it. To entropy, which represents disorder and randomness, Gustavo responds with patterns that link gesture and emotion and that provoke a feeling of presence, of closeness. He’s just a musician in front of his instrument, but the communion remains, as if once again, it was the share that guided his purposes.

It’s with this exploratory sensitivity that this album is made of, a personal record where Gustavo organizes chaos and percussive energy into complex and unexpected rhythms, a reflection of his particular sonic universe into which we are invited to enter.

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At the end of Vox Flora, Vox Fauna’s eight songs, Ece Canlı proves the ability to shorten distances between the most heavenly landscape and the harshest scenery. The Turkish artist – who currently lives in Porto – incorporates her voice in environments that seem contrasting on paper but that form harmony in the musical construction she gives them. The way Ece Canlı works with her voice advances in favor of a constant drive throughout Vox Flora, Vox Fauna.

She has created landscapes in other projects – Nooito, Live Low and Cobra’Coral –, solo, Ece Canlı insists and consistently repeats that it’s still possible to create unique narratives, working with ideas of extremes in the middle. That is, it’s constantly celebrating points that unite styles, seeking influences from traditional folk ideas/constructions, working them through an electronic-experimental prism and playing all of this with the sense of natural music, sounds that, instead of replicating nature, are demonstrations of landscapes, climates, experiences.

Through this sound structure, Ece Canlı brings the listener closer to her surroundings. The environments are a gateway, the voice – how you use it, how you create languages and create poetry without linguistic and formal boundaries – is the element that captures and redirects the sensations through these songs inhabited by the generosity and violence of human's relationship with nature. Nature as everything that is around and that changes and adapts.

Vox Flora, Vox Fauna avoids existing as an album of heaven and hell, of light and darkness, of opposites. It brings them closer, celebrates them, integrates them into crystal clear and lively songs. Ece Canlı's voice is an invitation for those on the other side – the listeners – to enter this world and be part of it.

With five songs recorded remotely, before and during the pandemic, the Lisbon collective's album was not born as usual. It didn't start with unbridled improvisation and then was "regulated" in post-production, on the contrary, there was more improvisation in the mixing phase than in the first moments. Loops, percussion, basses, synthesizers, voices, guitars, traveled in cyberspace overlapping each other, without anyone feeling a lack of space or rushing. Singular circumstances adverse to the communion and anxiety that characterized the band's sound and even rock in other times, but which allowed for more individual freedoms. Proof of this, Kill Screen is the album with the "best sound" of all the Loosers' albums and with details, that the band once undervalued, receiving increased attention.

Kill Screen is an album from a time when it is not easy to process all the information and misinformation and instead of discussing politics we continually discuss whether the earth is flat, whether vaccines cause autism, whether racism and machismo exist, while we are living realities intangibles in dependence on tech giants and in front of screens.

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Following the rich tradition of experimentation in the field of Black Metal and surrounded by the aura of mystery and mystery that characterized the genre since its beginnings, Bríi elevates music with extreme contours to a whole new level. A mix of textures - atmospheric, electronic and traditional Brazilian sounds - transforms his debut in Entre Tudo que é Visto e Oculto into a kind of one-man magnum opus.

The coldness and rawness of the desolate sound contrasts, here, with the balance and naturalness of tropicalismo, in a tenuous, but precise balance between the cutting and dogmatic sound of metal, the richness of Brazilian percussion and the shattered and lost sounds of a any dance floor.

Entre Tudo que é Visto e Oculto is an album of refractory ideology, a multifaceted and liminal debut that balances the austere and the solemn, the passionate and the cold, traveling through long atmospheric landscapes, folk-inflected progressions and paths with tonitruating contours.

Four songs where the intense, heavy and opaque sound sits comfortably at the entrance of an almost dreamlike territory, in a kind of waiting game for the imminent entry of the most extreme reinforcements of the composition.

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In paranormal lore, Paisiel is, quote, “a guardian angel responsible for the seventh heavenly hall.” Rocket Recordings’ experimental duo Paisiel, meanwhile, contain a Pais – João Pais Filipe, Portuguese drummer and lynchpin of the country’s experimental music subculture – and an -iel: Julius Gabriel, German saxophonist relocated to Porto and, too, embedded in that scene. Which is to say that their chosen name is as specific and singular as the music they make together, as heard on their latest album ‘Unconscious Death Wishes’.

This latest work represents a progression from what was already forward-facing music. ‘Unconscious Death Wishes’ is a single 39-minute piece, laid down live in the studio and subject to minimal edits only (for the constraints of the LP format, plus some field recordings from Porto and Berlin mixed in at the piece’s intro and outro). Julius thinks of it as “instant composition” – improvised, but based on composed structures.

Though ‘Unconscious Death Wishes’ feels funereal and dungeon-bound as it emerges quietly from the undergrowth, together Paisiel evolve and build. Soon, we’re dealing with an array of percussion and wordless vocal exhortations – the latter Julius’ way of reacting to João’s drum performance. Stern avant-electro synths call to mind 1980s Cabaret Voltaire or even Muslimgauze, the late DIY electronic composer who Paisiel list as one of their foremost influences. Julius’ gloriously expansive saxophone playing is inspired by names such as Rahsaan Roland Kirk and Dewey Redman, while his bandmate is locked and loose in equal measure here: time-whisk João to a late 60s proto-Krautrock cafeteria jam, early 70s New York loft jazz happening or Brazilian street parade from whichever decade takes your fancy and this dude could hold his own / hold it down.

After the weird-party vibes have taken hold, the beats start to hit harder, more industrial almost; Julius sustains notes for longer durations and then, before you know it, everything’s spinning off into Chaos Central. Ecstasy remains detectable at the core of this music, but is all well? Paisiel play music to transcend such earthly concerns: ‘Unconscious Death Wishes’ is their way of evoking, in Julius’ words, “landscapes, shapes, colours, proportions and movements”.

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Mariano de Melo, aka Marian Sarine, is a multi-instrumentalist, active as the drummer/percussionist for DEAFKIDS, playing synths and percussions live with the electronic vanguard artist Felinto, and as a solo artist (under the moniker of Sarine).

The album is based in old and new themes, recorded in an old Brazilian organ from the 80's. By making use of a few arpeggio patterns (namely 'Jazz Rock' and '16 Beat'), in improvisational detours which take off from the juxtaposition of rhythmic ideas over such patterns, I use them as starting point to achieve other groove possibilities, incorporating the overlaid notes the organ adds as another improvisational element, in a kind of a self-jam. The record drives inspiration from several sources, such as Charanjit Singh's experiments on modernizing traditional North-Indian ragas to an electronic setting, as well as master organist/synth players from different parts of Africa, like Hailu Mergia, Mammane Sani and Hama.
The album also deals with the manipulation of limited resources, posed by the quarantine period, through a lo-fi perspective which takes into consideration the urgency and restriction that seep through the present moment. 

The result of a predestined collision course between two modern day forces of iconoclasm, ‘Faca De Fogo’ is a rhythmically driven journey into soundscapes mercurial, savage and disquieting. Here a Mancunian-birthed counter cultural sound collective and a Porto-based master of percussive divination join forces, resulting in mystical trance states and elemental epiphanies aplenty.

GNOD first met up with João Pais Filipe at the Milhoes De Festa event in Barcelos, initially intrigued by a gong he’d made in the shape of a skateboard which formed part of an exhibition. They were soon introduced, and a plan was formulated apparently of its own volition to work together, subsequently co-ordinated by the Porto-based label and promoters Lovers & Lollypops around a week spent by GNOD in Porto. Three days of rehearsals led to the basic structures that were explored at an incendiary show in the city, which were in turn subsequently recorded over four days in João’s metal workshop with minimal overdubbing, forming a powerful portrait of the sparks that flew and the fire they created.

Forged in a spirit of spontaneity and intuition, ‘Faca De Fogo’ wastes precisely zero time in manifesting this incendiary chemistry between these two explorers of mantras and repetitive revelation. Themed around the elements in thematic unity with the alchemical nature of João’s practice, it runs a gamut of improvisatory exploration from the eerie atmospherics that introduce ‘Faca De Terra’ via the polyrhythmic kraut-damaged mania of ‘Face De Ar’ to the shamanic and bleak Swans-esque clangour of the title track.

‘Faca De Fogo’ is a soundworld without barriers, a meeting of minds and mallets in which the duality at its core is subsumed into a singular force as primal as it is metaphysical. 

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Duas Vozes is the solo debut album of Portuguese composer and artist Pedro Augusto. With six themes of non-operative music, whose sole purpose is to build a musical program that could be performed live without programming, Duas Vozes has a very frontal, lively and dynamic sound.

Written from two monophonic sequences of a modular synthesizer, it marks the beginning of a series of editions that will evolve from the initial object through the addition of new instruments. Visual music that physically results in a video-album-trip, where Pedro Augusto's music is deposited in the images created by Rafael Gonçalves.

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<iframe style="border: 0; width: 100%; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=1273480747/size=large/bgcol=ffffff/linkcol=0687f5/artwork=none/transparent=true/" seamless><a href="http://store.loversandlollypops.net/album/carnaval-de-natal">Carnaval de Natal by V/A</a></iframe>

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Riding Pânico - Homen Elefante by ragingplanet

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Drugs by Youthless

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#018 Alto! - See you in Hell Ron!
#017 Quit - Trains EP
#016 Feia Medronho - Pinta Natural
#015 The Astroboy - A Derrota da Engrenagem
#014 DOPO - For the Entrance of The Sun
#013 Lovers & Lollypops - 1 Ano de Bailarico
#012 Veados Com Fome - Veados Com Fome
#011 Frango + Dansse Damaje - Fuentezfuentezfuentez
#010 EYE8SOCCER - Total Fucking Drawkness
#009 Le Jonathan Reilly - The Singles
#008 Dead Man On Campus    - CDR
#007 Green Machine - Themes for the Hidebounds
#006 Veados Com Fome - Lobster/Veados com Fome split
#005 Veados Com Fome - Vol.# 3
#004 Veados Com Fome - EP
#003 Sikhara + OvO - Split
#002 Fish & Sheep + Tropa Macaca - Para o Inferno com Eles
#001 Green Machine - Green Machine