Nothing like going blind and curious into a concert and leave fullfilled. Telma and I wanted to check Soccorro’s, a recent record shop in Porto, new concert room. And so we did.
Cavala, a five piece from Porto, are the band to watch and go to see if they play near you. Renovating elements from Portuguese like Mlef If Dada or Pop Dell’Arte coupled with a pop-punk-post punk approach, Madlen Pinto (vocals, guitar and a bit of everything), Maria Cabral (bass, vocals), Helena Carneiro (drums), Inês Barbosa (guitar, vocals, kora, flute) and Mariana Amorim (melodica, vocals, ukulele, fife) bring us a joyous musical and vocal set, even when their voices speak of less sunnier issues.
Also from Porto, Ideal Victim – Mariana (vocals), Bruno Esteves (guitar), Jimmy (drums), Alex Vieira (bass) – have tints of a blast from 80s American hardcore, transposed for and enriched for today, in a venue, in Porto. Mariana is a force of nature, on stage, jumping to the middle of the audience, screaming, tantalizing. Ideal Victim are loud, very loud, energetic, in your face. Pure raw power.
From Melbourne, Australia, come Pinch Points. Acacia (bass, vocals), Adam (guitar, vocals)), Isabella (drums, vocals), Jordan (guitar, vocals) dressed in their shorts and shirt band outfit bring a fun, groovy, laid-back punk-post-punk performance that permeates the thirteen songs played. Theirs is an infectious sunny disposition to Pinch Points. A perfect match to a hot, sun blazing, Sunday afternoon.
First and foremost, our heartfelt apologies to Pavarotti III for have missed the performance. Pavarotti III is Sonoscopia’s canary and was going to present festival goes with glorious bird singing in the garden. We also didn’t saw Em Charme and Tren Go! Sound System.
We arrived on time to seat on the floor of the concert room and catch Vincent Martial playing his flute in the concert room of Summer’s smallest festival. Only 99 people, and one canary, allowed. Maltial’s flute is used in a mix of contemporary language with traits of ancient sounds. A nice beginning of our musical day.
Next was Farida Amadou, on the backyard stage, using her bass, pedals, drum sticks, mallets, to create for expressing something that, in a way, is lost on the listener. Why? It is a very personal use and interpretation of what, from this side, seem to be ways of addressing feelings, emotions, world events.background. If that is so, only Farida can answer.
And now we’re on one of the most upbeat, funny, entertaining gigs ever: Manu Louis, with his guitar, synth, electronics, voice combo of happiness, wrapped in a white bathrobe, playing outside and inside Sonoscopia’s bathroom, to which he would retreat now and then, leaving us with his silhouette and voice. What a riot! So much joy, dancing and humour! Such great songs. A much needed counterpoint to the sombreness and seriousness and more left field experimentalism from before, perfect for a hot, sunny, late Summer afternoon.
Harrga (Dali de St. Paul and Miguel Prado, here with Dali only) follows on the concert room. Harrga is harsh. Loud. Almost too extreme, too too much for the space where the performance happens. There is a message being tried to be brought across. An angry, in extremis one, sort of lost. Maybe the idea is to stir up some action in the audience? The distorted, loud vocals and sounds do not allow to comprehend much of what is being shouted. Besides we’re seat on the floor, not pogoing. Then, the musical landscape changes, to an almost church like music level. The words become more perceptible, but still elude.
Dinner break. The communal meal is taken in the patio and garden, encompassed by nightfall.
Back inside we’re in the hands, and sounds, of percussionist Camille Émaille. There is a labour of love here. A meticulous, affable, strong, unxepected way of working with the various percussive instruments. We’re entering the domain of transcendence. Or so it seemed as it was, or looked like it, cut short. Were did time went? If flew by.
Time to go rest on a chair at the bar-gear room and marvel at the boxes with extraordinary, ordinary, objects. Until a last return to the concert room for Los Caballos de Dusseldorf light, image and sound show.
Los Caballos de Dusseldorf build their own funny instruments, the doorags (named after Arizona’s lo-fi blues duo Doo Rag) from toys and other devices which circuits’ are modified. Circuity bending is an art form and Los Caballos de Dusseldorf mastered it with a childlike musicality that matches their way of dress, their concept, wrapped in curious and appealing visuals.
Another rest, another marvel at the gear boxes at the bar-gear room.
The final act is in the garden. Drummer and percussionist Steve Hubback, under the lit trees, takes us further into the transcendent trip started by Camille Émaille. Most of us are in the dark, on the adjacent yard, separated from the “stage” by a low, thin wall that allows to see, or almost see, what is being played. What is being played is much more to be felt than to be seen. At least, that is how it was for me.
At a point I opened my eyes and though four drumsticks? Two at a hand? Nope, turns out it were five drumsticks. Don’t ask me how. Steve holds the answer. I can tell it each time Steve does something different and there is no point going to see him thinking it may be this or that or those. Oh, right, back to the transcendence, which is where I was when Steve’s performance ended. It was shamanic, otherworldly. A Summer’s night dream and elation.
Londoners Alaskalaska debuted in Portugal last Saturday Night in a single date on Hard Club, in Porto.
The wait for the concert, scheduled for 9:30pm, but starting about10pm with an unannounced opening act, was spent between drinks, cigarettes and conversation. As a warm-up, Black Sombrero, from Gaia, played some songs characterized by a more direct rock sound in the vein of Queens of the Stone Age or Foo Fighters. They were well received by the audience that made them feel welcome, despite some errors in the execution of the songs, taken with ease.
One more cigarette and a drink while waiting for Alaskalaska. The quintet, formerly a sextet presented their album Still Life (2022) opening with Growing Up Pains (Unni’s Song). The song, with a beginning and slow progression served as a good introduction for what was to follow. Alaskalaska has members with a background in pop and jazz and their sound comes from this combination of different influences described by themselves “art dream-pop”. From what war heard, they’re not far from the description.
The concert was mild, but engaging in its jazz-infused pop and R&B touches, never boring, never predictable. Without major interruptions or interactions with the audience Alaskalaska maintained a great performance, proving to be very good live. In the short interventions between songs, due to the declared shyness of vocalist Lucinda whose father said he was Portuguese, she said she was very happy to play for the first time in Porto and to thank the way the whole band was received by the concert promoter.
After a setlist includedind songs from their two original albums in which main singles, such as Rise And Shine and Monster and Pressure could not be left out, Lucinda announces the last song of the night, Still Life, the title track of their new album. An announcement that provoked a reaction from the public signalling they wanted more.
Still Life, a song that made those attending dance, was the farewell to Porto’s audience. As Lucinda had said, “was a good one”.
Lucinda, John-Duarte, Fraser Rieley and Co., left under claps from an audience waiting a never happened encore.
words: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota
According to Cicero’s expression that “men are like wines, age souring the bad, and bettering the good” applies with full propriety to the Melvins, as attested by their stopover in Porto, as part of the 40th Anniversary Tour. It is not the first time that the North American trio has called the turning of the hourglass to christen their tours; the 25 and 30 years of career deserve similar reference, suggesting a balance that, far from throwing them into any nostalgic bedlam, underlines the freshness displayed on stage and the musical richness of an unavoidable legacy that contaminated much of the most interesting that sprouted in the metallic territories and their substitutes, from Nirvana to Tool, through Soundgarden and Mike Patton.
With the main room of Hard Club crowded with a generous generational range of attentive ears, a far from innocent Take On Me” by A-Ah (1985) was heard as an introduction to a pedagogical and electrifying journey that revisiting albums such as the highly acclaimed Bullhead (1991), Houdini (1993) or (A)Senile Animal (2006), among other gems of their vast career. Like a magician of the decibels, Buzz Osborne wore his mystical robe in a pervasive performance, with voice and guitar in flawless symbiosis, with the melodic thunder of the prodigious accomplice of the early hours, drummer Dale Crover and the most recent acquisition (2015) by the fun and talented bassist Steven McDonald. The Melvins’ generous and well-articulated menu made the walls of a space that asked for expansion sweat in the face of the overflowing energy of an irreproachable performance that did not disappoint the audience that, by the end of the evening, only carried a single frustration, the price of the beer.
words: Marcos Leal (freely translated by Raquel Pinheiro); photos: Telma Mota
Many years went by after We Are Scientists auspicious debut album With Love And Squalor (2006) with the hit Nobody Moves, Nobody Gets Hurt. However, never reaching the success of some of their contemporary peers and, despite some albums with relative success, as time went by they lost relevance. That could be seen from the reduced human frame present at the auditorium last Wednesday night, highlighting the lost hype of yesteryear.
While having a drink and waiting for the band the doubt hovered … what would We Are Scientists had to offer in 2023?
The concert started lukewarm, but pleasantly, with a song from the new album Lobes (2023), Lucky Just To Be Here, in a way of welcoming the public from Porto who timidly approached the stage, followed by No Wait At Five Years and Contact High, more recent songs from the band’s portfolio. It was necessary to wait for the fourth song of the night to go back to the beginning of their career to listen to Great Escape, a song from their first album, which provoked quite enthusiastic reactions from the audience in theirs 30s and over, in a kind of nostalgia meeting. But, it was much more than that. From then onward it was a sequence of catchy indie songs with danceable and colorful post-punk tones, with Chris Cain’s pulsating groove basslines, the basis on which many of the band’s songs are based and which, together with Keith Murray’s guitar create excellent dynamics.
In addition to the musical sequence that oscillating between older and more recent songs, those more recent songs demonstrating the new material is very well achieved and works very well live, it was evident that more than musical and creative dynamics, the great chemistry between Chris and Keith who, between songs, did small “stand-up” sessions, in their very American way of speaking, playing and interacting with the audience, drawing reactions and smiles. Many of them animated Americans who danced and made the party and Chris thanked their presence, after thanking the Portuguese attending.
At a certain point, members of the audience offered them tonic ports because in one of those conversations between songs they praised the drink. Before the first stage exit came the band’s most successful song, Nobody Moves, Nobody Gets Hurt, which got everyone moving and singing along with the band. On the way back, they played four more songs with great energy making them move to the middle of the audience to dance – said energy delivered throughout the concert. A beautiful final stretch that dispelled any doubts that existed before the concert. We Are Scientists proved to be in excellent shape both in presence and performance, as well as creatively. A super competent and contagious concert in which the band revealed great delivery, despite the reduced audience. Clearly demonstrating that they haven’t lost the pleasure of playing and making music, even if they haven’t achieved great success. They deserved more.
words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Telma Mota
They are four. At times, when it comes to vocal harmonies, they seem like one. Other times they look like two blocks that complement each other perfectly. A rhythm section (bass and drums) and a melodic section (guitars and vocals). Bass and drums deeply mark Warpaint’s songs given their density. Jenny and Stella are cohesive and impose very interesting dynamics on the different tempos of the songs. Emily and Theresa, for their part, are extremely melodic on the guitars in which the notes are distinguished one by one in the beautiful harmonies created by the instruments. Perhaps it is here, in Warpaint’s songs that the so-called dream pop has its most striking expression, all else is indie rock’n’roll in its softest essence.
The Californian band presented at Hard Club an increasing setlist: Stars, Champion, Hips, Bees, Krimson, Undertow, New Song. All in that atmospheric nostalgia so characteristic of Warpaint, like a hand rocking the cradle. The audience enjoyed it and applauded to the point where the band members felt at home with it, which made them loose more and open up into jokes and games. A hand fan came out of a saving hand from the middle of the audience for Jenny to cool off. Soon after, she waved it at Stella’s face, who effusively thanked her for the gesture. The folks liked it, of course they did. How not to? It’s fun!
Warpaint returned to the stage after a highly requested and sweaty encore to treat the crowd to Without; Nudes and Beetles drewing a valiant ovation. There is no doubt that the girls have a remarkable following of fans that shows itself.
The only thing that spoiled the party a little bit was the sultry heat reigning inside the Hard Club’s room. Almost unbearable. The exit door looked like a mirage in the middle of the desert.
The night air brought us the expected relief and the cold liquid of a drink running down the throat did the rest. Everything a Friday Summer night needs. What else …
words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Paulo Carmona
One thing are jeans that have faded over time and ended teared up by using and time, another a pair of jeans artfully torn here and there, to look rough and the result of a lifetime’s chance. Handmade, of course … no mass manufactured product.
There you have it, perhaps the best analogy I can think of at the moment to explain what Dehd’s indie rock sounds like to me.
The Chicago band, formed in 2015, includes: Emily Kempf (bass, vocals), Jason Balla (vocals, guitar), and Eric McGrady (drums) – uses a very unique sound, characteristic of bands a la Madchester, with the dirt of the short delay guitars and the raw and galloping bass, alternating between melodic and fast riffs and then a nostalgic lull to calm the hordes Things we hear in Stone Roses, Happy Mondays, The Smiths and the likes and that Dehd do a little more dirty with hints of psychedelia, garage rock’n’roll and some modern times digital machinery.
Emily Kempf in the high tones and vocal vibrato reminds Siouxsie Sioux, but when she drags her voice and lowers it to low and dark notes, she is very close to a Brody Dalle, irreverent. She stays there between one and the other. All good people and good references, I think.
On the other hand, Jason Balla is an inexhaustible source of energy. He is delirious. The way he throws himself into every riff! It really seems that the strident sound of his guitar enters his body. A stage monster.
Eric McGrady is in his world. Super focused and competent, he marks the progress of the songs with a very funny, apparent, calm. It looks like it has nothing to do with him.
Between songs from their latest album (Blue Skies, 2022), such as Window, Stars, Bad Love and Palomino and older songs in which Nobody, Loner, and Desire stood out, Dehd feasted the audience at CCOP with a very pleasant and fluid set, never letting the environment go lukewarm.
In the end, the friendly and very affable Jason Balla fraternized with some of those present always with an open and very honest smile.
The night was very agreeable and I didn’t even need to tighten my vest. I went down the pavement rocked by the swing of a summer night. There’s more tomorrow!
words: Marcos Leal (freely translated by Raquel Pinheiro); photos: Telma Mota
As the time for the beginning of the concert by the band responsible for selling out Mouco Hotel’s room approached, the audience filled the room to the sound Homem em Catarse, Afonso Dorido’s solo project. Between guitar, keyboards and voice, the musician painted cinematic soundscapes, sometimes more contemplative to the piano, sometimes denser due to the distortion emanating from the guitar, a well served bridge to the performance of the main band of the night.
When the time arrived and under a round of applause, revealing the audience’s enthusiasm, The Veils took to the stage and start with Bullfighter. However, Finn Andrews did not appear dressed as a bullfighter, nor does he bring a bullfighting cape with him, which does not prevent him from “fighting” the audience with the mastery that only an experienced artist has. Finn brings with him his characteristic hat and a look that matches the way he gestures, like a preacher, to the sound of his songs.
Between the sacred and the profane, Finn explored some of the most important songs of The Veils’ career with particular emphasis on the recently released album … And Out Of The Void Came Love. The pace of the performance grew with more electric with songs like Here Comes The Dead, Not Yet, Low Lays the Devil and Nux Vomica that lead the audience to a bigger uproar in which Finn seemed to embody a certain Australian neighbour called Nick.
When the encore arrives, Finn returned alone to play two songs. One of which, Leavers Dance, requested by the audience, hasn’t been played live in about 15 years. Understandably, Finn plays it as best as he can without rehearsing, using the internet on his cell phone so he doesn’t get the lyrics wrong. It was a fun and empathetic moment that will remain in Finn’s memory and those attending.
With the whole band back on stage an encore with three excellent songs, Someday My Love Will Find Me and Rings Of Saturn, from the latest album, and Jesus for the Jugular from the album Nux Vomica – one of the most striking song of The Veils’ career – in no way affected by broken strings. Therefore, the band – Finn Andrews (vocals, guitar, keyboards), Cass Basil (bass), Jo McCallum (drums), Tom Healy (slide guitar), Liam Gerrard (keyboards), Dave Khan (violin)-, said goodbye visibly pleased to have ended the tour in Porto where they were so well received by a room sold out promising a return.
text: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota
Actors drew the curtain on their European tour on the stage of Hard Club with a happy return that left no one disappointed. The Canadians, led by Jason Corbett toured the band’s discography for just over an hour, dividing the sound cake mostly between the songs from their latest album Acts Of Worship (2021) and the successful It Will Come To You (2018).
Actors on stage – Shannon Hemmett (keys, vocals), Jason Corbett (vocals, guitar), Adam Fink (drums) and Kendall Wooding (bass, vocals) – opened with Love U More (Acts Of Worship), a brilliant song where Shannon Hemmett’s voice (and keys) wobbled delightfully with Jason Corbett’s, evolving into an infectious rhythm that quickly embraced the room. There’s evolution in continuity – in relation to the two previous albums – with the band showing an enviable ability to conceive well-seasoned songs, energetic beats and pace, with fresh melodies sticking to the skin (or the shiny leather). Slaves, We Don’t Have To Dance, Strangers, How Deep Is The Hole (the song that ended the encore), among others, demonstrated the well filled collection of the best that is being done in the lands of post-punk, with Actors giving body to a vibrant and seamless show.
Os Actors encerraram a cortina da sua digressão europeia no palco do Hard Club, com um retorno feliz que não deixou ninguém desapontado. Os canadianos liderados por Jason Corbett percorreram a discografia da banda ao longo de pouco mais de uma hora, dividindo o bolo sonoro essencialmente entre as músicas do seu último álbum Acts Of Worship (2021) e o bem sucedido It Will Come To You (2018).
Actors em palco – Shannon Hemmett (teclas, voz), Jason Corbett (voz, guitarra), Adam Fink (bateria) e Kendall Wooding (baixo, voz) – para abertura com Love U More (Acts Of Worship), uma canção brilhante onde a voz (e teclas) de Shannon Hemmett pendulou deliciosamente com a de Jason Corbett, evoluindo num ritmo contagiante que rapidamente abraçou a sala. Há, em relação aos dois álbuns anteriores, evolução na continuidade, com a banda a revelar uma capacidade invejável de conceber músicas bem condimentadas, batidas enérgicas e compassadas, com melodias fresquinhas a colarem-se à pele (ou ao couro lustroso). Slaves, We Don’t Have To Dance, Strangers, How Deep Is The Hole (música que encerrou o encore), entre outras, atestaram o acervo bem recheado do melhor que se vai fazendo pelas terras do post-punk, com os Actors a darem corpo a um espectáculo vibrante e sem arestas.
P.S.: Espera-se o seu retorno para o próximo ano, com um novo álbum.
words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Paulo Carmona
A dusty dirt path, with no end in sight in the middle of nowhere, beaten by the sun, only attenuated by the brim of the hat and the green hills that invite us to stop near a creek of fresh water, for sure the soundtrack for such imaginary would pass through the songs of M. Ward.
Last Saturday night, an instrumental guitar intro with electrifying strums between short solos and riffs steeped in folk blues was the motto presented on a plate by M. Ward to the audience present at Mouco.
With eyes always closed, now bending his body over the guitar, then appearing as an extension of his arm, the musician feels every note that serves us with arrangements of garish, warm and strong colours. No doubt if it were a bouquet of flowers, they would be wild.
He thanked each applause with tight crossed arms against his chest and a slight bow with a very well pronounced thank you.
If Chinese Translation brought that sweet and melodic joy with the guitar galloping under a simple voice, on the other hand, Supernatural Thing, in that swing mode of a summer night in a dream with the king of rock’n’roll, brought a huskier dragged with high falsettos and guitar solo, backed by a sequenced loop.
M. Ward uses the music’s spaces very well and the crescendos and diminuendos depending on the balance he wants to give it. A lot of talent and a lot of mastery, from someone who goes on stage alone and doesn’t let their set-line fall into monotony. Only someone very bold would risk a Bowie’s cover with just a guitar in his hands and a harmonica. Well, Ward did it and with great class, not only because of the making he gave to Let’s Dance, but because the approach he took to the theme is pleasing and does not discredit the original in any way.
During I’m a Fool to Want You, a couple in love danced in front of me in a “we’re alone among them” mode.
After two short encores he ends with Rollercoaster, very entertaining as is the music he leaves us with. Many well-deserved applause.
It’s raining outside, but not enough to put out the happy flame I carried in my pocket. There are nights like this.
Um caminho de terra batida poeirento, sem fim à vista no meio do nada, o sol a bater de frente, apenas atenuado pela borda do chapéu e colinas verdejantes que nos convidam a parar junto a um riacho de água fresca, e por certo que a banda sonora para este imaginário passaria pelas canções de M. Ward.
Um intro instrumental à guitarra com dedilhados eletrizantes entre solos curtos e riffs impregnados de blues folk foi o mote que M Ward apresentou de bandeja à audiência do Mouco que marcou presença no passado sábado à noite.
De olhos cerrados o tempo todo, ora debruçando o corpo sobre a viola, ora esta surgindo como um prolongamento do seu braço, o músico sente cada nota que nos serve com arranjos de cores garridas, quentes e fortes. Se fosse um bouquet de flores, seriam silvestres, sem dúvida.
Agradeceu cada aplauso com os braços em cruz apertados contra o peito e ligeira vénia com um obrigadíssimo muito bem pronunciado.
Se Chinese Translation trouxe aquela alegria docinha e melódica com a guitarra a galopar sob uma voz singela, já Supernatural Thing, naquele modo de swing de uma noite de verão num sonho com o rei do rock’n’roll, trouxe uma voz mais rouca e arrastada com falsetes altos e solo de guitarra apoiado num loop sequenciado.
M. Ward utiliza muito bem os espaços da música e os crescendos e diminuendos consoante o balanço que lhe quer dar. Muito talento e muita mestria, de quem vai para palco só e não deixa o seu set-line cair em monotonia. Só alguém muito ousado arriscaria uma cover de Bowie só com uma guitarra na mão e uma harmónica. Pois é, Ward fê-lo e com grande classe, não só pela roupagem que deu a Let’s Dance, mas porque a abordagem que fez ao tema agrada e não desprestigia em nada o original.
Em I’m a Fool to Want You , um casal apaixonado dança à minha frente em modo estamos sozinhos no meio destes todos.
Após dois encores curtos termina com Roallercoaster, muito divertido tal como a música com que nos deixa. Muitos aplausos e bem merecidos.
Cá fora chove, mas não o suficiente para apagar a chama alegre que trazia na algibeira. Há noites assim.
Um caminho de terra batida poeirento, sem fim à vista no meio do nada, o sol a bater de frente, apenas atenuado pela borda do chapéu e colinas verdejantes que nos convidam a parar junto a um riacho de água fresca, e por certo que a banda sonora para este imaginário passaria pelas canções de M. Ward.
Um intro instrumental à guitarra com dedilhados eletrizantes entre solos curtos e riffs impregnados de blues folk foi o mote que M Ward apresentou de bandeja à audiência do Mouco que marcou presença no passado sábado à noite.
De olhos cerrados o tempo todo, ora debruçando o corpo sobre a viola, ora esta surgindo como um prolongamento do seu braço, o músico sente cada nota que nos serve com arranjos de cores garridas, quentes e fortes. Se fosse um bouquet de flores, seriam silvestres, sem dúvida.
Agradeceu cada aplauso com os braços em cruz apertados contra o peito e ligeira vénia com um obrigadíssimo muito bem pronunciado.
Se Chinese Translation trouxe aquela alegria docinha e melódica com a guitarra a galopar sob uma voz singela, já Supernatural Thing, naquele modo de swing de uma noite de verão num sonho com o rei do rock’n’roll, trouxe uma voz mais rouca e arrastada com falsetes altos e solo de guitarra apoiado num loop sequenciado.
M. Ward utiliza muito bem os espaços da música e os crescendos e diminuendos consoante o balanço que lhe quer dar. Muito talento e muita mestria, de quem vai para palco só e não deixa o seu set-line cair em monotonia. Só alguém muito ousado arriscaria uma cover de Bowie só com uma guitarra na mão e uma harmónica. Pois é, Ward fê-lo e com grande classe, não só pela roupagem que deu a Let’s Dance, mas porque a abordagem que fez ao tema agrada e não desprestigia em nada o original.
Em I’m a Fool to Want You , um casal apaixonado dança à minha frente em modo estamos sozinhos no meio destes todos.
Após dois encores curtos termina com Roallercoaster, muito divertido tal como a música com que nos deixa. Muitos aplausos e bem merecidos.
Cá fora chove, mas não o suficiente para apagar a chama alegre que trazia na algibeira. Há noites assim.
Mondo Bizarre Magazine 