Category: Concert Reviews

words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Telma Mota

I believe that any interplanetary trip could have Tempers as a background sound.

Tempers’ sound is atmospheric enough to put any frantic person into contemplative mode. It is an undeniable invitation to our inner self and draws out our nostalgic and intimate side. On the surface, hairs stand on edge, the “chicken skin” phenomenon is slow, but it happens smoothly. Further and Strange Harvest are such ood examples. From time to time there are themes like Sightseeing with a bit more rhythm, but then they return to their world of warm breezes.

The CCOP room was well composed but not crowded, and the equidistance between the hosts did not change much. Only a slight undulation was perceptible, because the melodies delivered by Tempers and the band’s posture on stage invite only that. The spotlights were directed towards the dark stage where the two band members could barely be seen. Very grateful and friendly, but uncommunicative, they were in perfect harmony with what they have to offer.

Alternating between 70’s psychedelia, the more contemplative gothic of the 80’s, and current minimalist experimental electronics, with hints of art-pop and synth-pop, Tempers are a project tailored for intimate concerts with their audience. In my view, putting them in a panoply of bands on any line-would be too bold a gamble, either for promoters or for the band itself, because it is necessary to be previously prepared over low heat to absorb the precious sound of Tempers and enjoy their music calmly, without rushing.

texto: Paulo Carmona; photos: Telma Mota

Acredito que qualquer viagem interplanetária poderia ter como som de fundo, Tempers.

O som dos Tempers é atmosférico o suficiente para por qualquer frenético em modo contemplativo. É um convite irrecusável para o interior de nós mesmos e puxa o nosso lado nostálgico e intimista. À flor da pele, quer o erriçar dos pelos, quer o fenómeno “pele de galinha” é lento, mas suavemente acontece. Further e Strange Harvest são bons exemplos disso. Volta e meia lá aparecem temas como sightseeing com um bit mais ritmado, mas depois voltam ao seu mundo de brisas mornas.

A sala do CCOP estava bem composta, mas não cheia, e a equidistância entre as hostes não se alterou muito. Apenas uma leve ondulação era percetível, porque as melodias debitadas pelos Tempers e a postura da banda em palco, apenas a isso convida. Os focos estavam direcionados para o palco escuro em que mal se vislumbravam os dois elementos da banda. Muito agradecidos e simpáticos, mas pouco comunicativos, estão em consonância perfeita com o que têm para oferecer.

Alternando entre o psicadelismo do 70’s, o gótico mais contemplativo dos 80’s, e a eletrónica experimental minimalista atual, com laivos de art-pop e synth-pop, os Tempers são um projeto talhado para concertos intimistas com o seu público. Mete-los numa panóplia de bandas de um qualquer cartaz, a meu ver, seria uma aposta demasiado arrojada, quer para promotores quer para a própria banda, isto porque é preciso estar-se previamente preparado em lume brando para sorver o som preciosista dos Tempers e degustar a sua música calmamente, sem pressas.

Panda Bear & Sonic Boom, Mouco, Porto, 14.10.2022

words & photos by Raquel Pinheiro

Panda Bear and Sonic Boom landed in Porto to present their album Reset in what could be described as an electro pop concert. At the show, someone told me, it is not electro pop, it is psychedelic pop. Psychedelia was indeed present, in the sound and visuals. What I meant, and mean, by electro pop regarding this concert is not the usual meaning, rather that there is an electronic basis completed and complemented with pop landscapes, namely the vocal harmonies.

Their brand of electro popishness reaches its peak with the very, or extremely, Beach Boys like Edge of The Edge, a fine danceable, upbeat song. The clapping and percussions instruments used by both musicians also help giving a more organic, analogue vibe to electronic based music.

As for sonic forays, Sonic Boom as sonic on his name for a reason and Panda Bear is no strange to it. The encore closing was a perfect example of it. The aforementioned visuals, by Studio Sparks, perfectly captured the musical, vocal and sonic ambient of the songs and live performance.

Rodrigo Neto, Clube de Desenho, Porto, 15.10.2022

words & photos by Raquel Pinheiro

I ventured to Rodigro Neto’s concert and recital Merda em Flor e outras Fogueiras not knowing what I was going to be met with.t paid off. A quiet, intimate, late aferternoon acoustic guitar concert, with very short stories between instrumentals told by Rodrigo. The words losely remind of our folklore as well as our mediaval Canções de Amigo. Total silence, a dark room and the audience seated very close to the artist, including on the floor. The concert and recital were the closing of Da Escuridão e da Luz an exhibition by Ana Torrie and Samuel Ornelas.

words: Marcos Leal (freely translated by Raquel Pinheiro); photos: Telma Mota

“Come closer and behave as Punk as possible” said Alexander Cheparukhin at Casa da Música, in Porto, as producer of Pussy Riot’s show, giving voice to the collective, somewhat disconcerted by the placement of people in the room. The introductory message explained the activist nature of what followed, a musical performance “as punk as possible” that included the quirky history of a band riddled with mishaps with the Russian authorities.

After introducing the 4 members of the Russian band, who performed in Portugal (of the approximately 12 that currently making up the collective), the performance began accompanied by videos duly subtitled in Portuguese that would lead the audience through various episodes of repression, also reported in the Riot Days book that names the European tour.

Diana Burkot in her beautiful white figure, accompanied by a small drum kit and minimal electronics pre-cooked on very low heat started the show and led the manifesto in a raw and rhythmic tone that so much characterizes the band. Next to the new member Anton Ponomarev lends his voice and saxophone to the feminist collective and adds a jazzy tone that so well makes up the music scene; at times there is screaming, sometimes it rocks, inviting to the endless struggle for freedom and democracy. Finally, Olga Borisova, the editor of the book, and Maria ‘Masha’ Alekhina, arrested several times and founding leader of the band, explode in an assertive register and discuss the lyrics of the manifesto that reflects their strong displeasure with Putin’s regime and their unconditional support to Ukraine, in this case with a direct contribution to the construction of a children’s hospital in Kiev.

Stories of repression, harassment and restriction of freedom of expression  follow one after another on the screen, and consequently the band’s attitude, in a crescendo of indignation, hardens their attitude until they start wearing the famous balaclavas, followed by a walk in front of the audience peaking in an awakening of consciences by repeatedly and ostensibly throwing water to the public, saying “We fight and you? Freedom doesn’t exist unless we fight for it every day”.

Between the well-articulated music, the punk attitude and the unavoidable message of intervention for a free and fair Russia, Pussy Riot fulfilled their objective of putting on a good show and, at the same time, conveying their message of unrest.

The audience enthusiastically followed along with clapping and dancing. A small mosh at the end stirred up the waters in the magnificent Sala Suggia of Casa da Música, which is not at all the most appropriate for these unbridled heats, but that adapted beautifully to the provocation. And the evening passed in the company of the always rebellious and nonconformist Pussy Riot.

texto: Marcos Leal; fotos: Telma Mota

“Come closer and behave as Punk as possible”, disse Alexander Cheparukhin na Casa da Música do Porto, na qualidade de produtor do espetáculo das Pussy Riot , dando voz ao coletivo algo desconcertado com a distribuição de pessoas na sala.

A mensagem introdutória explicou a natureza ativista do que se seguiu, uma performance musical “tão punk quanto possível” que incluiu a história peculiar de uma banda repleta de percalços com a autoridade russa.

Após apresentar os 4 membros da banda russa que atuaram em Portugal (dos cerca de 12 que compõem atualmente o coletivo) deu-se início a uma atuação, acompanhada  de vídeos devidamente legendados em português que conduziriam o público pelos diversos episódios de repressão, relatados também no livro Riot Days que dá nome à tour Europeia.

Acompanhada de uma pequena bateria e de uma eletrónica minimal pré-cozinhada em lume nada brando, Diana Burkot na sua bela figura branca iniciou o espetáculo e foi conduzindo o manifesto num tom cru e ritmado que tanto caracteriza a banda. Ao lado, o novo membro Anton Ponomarev empresta a sua voz e o seu saxofone ao coletivo feminista e acrescenta um tom jazzístico que tão bem compõe o cenário musical; por vezes grita, por vezes embala convidando à luta sem fim pela liberdade e pela democracia. Por fim, Olga Borisova, editora do livro e Maria ‘Masha’ Alekhina, presa várias vezes e leader fundador da banda, explodem num registo assertivo e discorrem as letras do manifesto que reflete o seu forte desagrado com o regime de Putin e o seu apoio incondicional à Ucrânia, neste caso com contributo direto para a construção de um hospital pediátrico em Kiev.

As histórias de repressão, assédio e limitação da liberdade de expressão  sucedem-se no écran, e consequentemente a atitude da banda, num crescendo de indignação, vai endurecendo a sua atitude até passarem a envergar as famosas baclavas, ao que se segue um passeio à frente da plateia e culmina num despertar de consciências, ao atirarem água para o público de forma repetida e ostensiva, dizendo “Nós lutamos e vós? A liberdade não existe se não lutarmos por ela todos os dias”. Entre a música bem articulada, a atitude punk e a mensagem incontornável de intervenção por uma Rússia livre e justa, as Pussy Riot cumpriram o seu objetivo de dar um bom espetáculo e ao mesmo tempo passar a sua mensagem de desassossego.

O público acompanhou entusiasmado em forma de palmas e dança. Um pequeno mosh no final agitou as águas da magnífica sala Suggia da casa da música que não é de todo a mais apropriada para estes calores desenfreados mas que se adaptou lindamente à provocação. E assim se passou uma noite na companhia das sempre rebeldes e inconformadas Pussy Riot.

words: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota

Braga. GNration’s BlackBox completely crammed with clouds of flesh compressed in the heat of anticipation. The two Brians who make up Lighting Bolt take the stage. Gibson, discreet, almost indifferent, dons the four-string sulfuric engine; Chippendale, his face grimacing, giving him the air of something between an extra in Night of the Living Dead and a spokesperson for some urban guerrilla group, fits himself behind the drums (and the microphone). The room’s lungs fill to the rhythmic bass/drums cadence with Horsepower (Fantasy Empire, 2015) has an opening, rumbling over Chippendale’s electrified, declarative voice, lending an urgent tension to the rarefied air.The chaotic convulsion of bodies is carried away by the sound tsunami of Lightning Bolt’s noise-hardcore. The incendiary debt carries on; Air Conditioning (Sonic Citadel, 2019), Dead Cowboy (Hypermagic Mountain, 2005), The Metal East (Fantasy Empire), (…), leading to the ironed encore, Colossus (Earthly Delights, 2009).

One returns home with the eyes of the ears filled.

texto: Neno Costa; fotos: Telma Mota­

Braga. BlackBox do GNration completamente lotada com nuvens de carne comprimindo-se no calor da expetativa. Os dois Brians que formam os Lighting Bolt sobem ao palco. Gibson, discreto, quase indiferente, veste o motor sulfúrico de quatro cordas; Chippendale, com o rosto entrapado, emprestando-lhe o ar de qualquer coisa entre figurante de Night of the Living Dead e porta-voz de um qualquer grupo de guerrilha urbana, arruma-se atrás da bateria (e do microfone). Os pulmões da sala enchem-se na cadência rítmica baixo/bateria com Horsepower (Fantasy Empire, 2015) a abrir o concerto, ribombando sobre a voz eletrificada de Chippendale, declamativa, emprestando uma tensão urgente ao ar rarefeito. A convulsão caótica dos corpos é levada pelo tsunami sonoro do noise-hardcore dos Lightning Bolt. O débito incendiário sucede-se; Air Conditioning (Sonic Citadel, 2019), Dead Cowboy (Hypermagic Mountain, 2005), The Metal East (Fantasy Empire), (…), desembocando no encore tirado a ferros, Colossus (Earthly Delights, 2009).

Regressa-se a casa com os olhos dos ouvidos cheios.

words: Raquel Pinheiro: photos: José Belém

Some things are well worth waiting for. Einstürzende Neubauten are one of those. After a two years delay – for reasons sadly too well-known of all – the band is back on the road. Finally, presenting Alles in Allem their latest album, along with songs from other eras. The Year of the Rat tour became The Year of the Tiger tour and they do mighty roar.

Einstürzende Neubauten are a band both oiled, like an orchestra of wonders with standard and custom-build instruments that plays with perfect ease, as well as still infused by all the special creativeness and boldness that makes them unique.

From Alexander Hacker’s bass, that leads, punctuates, grooves, halts with mastery, to those purpose-build or repurposed instruments, like the supermarket cart, the bin, the pump, the many special percussion objects, rhythm, flow, melody spring from. Blixa Bargeld ’s voice stands clear, among all that. The singer’s Sprechgesang often, if not most times, adding to the cadence of the music.

In good spirits Blixa addresses the audience a few times, explaining song titles and the story or details behind those and the lyrics. He is particularly humorous when the metal bow that Alexander Hacker plays suffers a malfunction. Will it be possible to play the song (Ten Grand Goldie)? Will it not? While Blixa engages the audience, the engineers manage to solve the matter and the band re-starts the song.

From Wedding, the opening song, conducted by Alexander’s bass tones, to Susej, right before the Neubauten leave the stage, we are guided in a room-road-trip of sound and words landscapes from loving and warm to chilled and catastrophic. Sound intensity is expertly managed by Neubauten. They drive us to musical heights, just to leave us at the edge of the abyss, if not truly inside it, even if briefly, in a constant display of creativeness and how to keep an audience on its toes.

The sound crescendos are astonishing, the stops, the silences, silence really is sexy, and troubling and, like percussion, groove and tremble sounds, can run through our spine and leave us shaken, amazed, in love.

Alles in Allem was played in its entirety, its ten songs making for nearly half the concert with Grazer Damm being sung in English and Taschen and Tempelhof being left for the encore. When Neubauten left, after Susej, the end was not the end. It was just a pause, filled with a clapping standing audience, as they would return, not once, but twice.

The usage of different languages, offers another level of dynamics, inflections, textures. I recall, a good while ago, when interviewing Blixa, that, at the time, he was interested in how a person voice changes depending of spoken language. It is so, our voice does mutate depending of the language we’re speaking/singing in.

Aside from Alles in Allem songs there was Nagorby Karabach and the aforementioned Susej fom Alles wieder offen (2007); Die Befindlichkeit des Landes and Sonnenbarke from Silence is Sexy (2000) in which Alexander’s bass shines deep; How Did I Die? from Lament (2014), Rampe from 2005-05-28: 25th Anniversary Tour and the ultimate finale with Redukt also from Silence Is Sexy.

In the beginning there was rhythm could be applied to Einstürzende Neubauten. To many, they are still known, and seen, as a noisy, industrial, groveless band. However, rhythm was always there. Yes, sharper, much more crude and harsh early on, nevertheless, rhythm. Now, the ensemble – currently six on stage – is more polished, but don’t overtrust, you may still be blasted with some very acute frequencies and outbursts of frantic percussion, and rhythm, gentle, furious, mellow, vibrant, maniac, romantic, is everywhere. On those full, ever present bass lines, on the thousand percussion ways Neubauten use, on the voice and lyrics. It may even be present on the guitar. Of course, there is also melody. And melancholy. Rhythm, percussion, melody, melancholy were all perfectly expressed in the beautiful Redukt. A more poetic and emotional closing must be hard to find.

As for the blue in, it really should have been yellow, bold and blunt, Herr Blixa. Not only is yellow my favourite colour it would have looked amazing on the stage.

Willkommen zurück, meine Herren. Es war mir wieder eine Freude, Ihnen zuzuhören!

words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Hiliana Silva Melo

If someone really wants to know what indie alternative rock’n’roll is, in its purest and most direct state, without subterfuge and blunt, it’s simple! go see a White Lies concert and all your doubts will be dispelled.

On the 17th of May, Sala 1 of Hard Club was properly prepared to receive the British band that presented themselves to their, it most be said, faithful and dedicated audience. And with all the energy and dedication that can be demanded of professionals in the field, White Lies did not disappoint the expectations of their followers.

They started with Fairgraound leading the room to delirium. What a nice way to start a concert. If its to enjoy , lets go! In order not to lose the rhythm, the following followed: There Goes Our love Again, Am I Really Going to Die and to set the room on fire To Lose My Life. I also couldn’t hold it either and, what else was left for me to do, start shaking my head to the super rhythmic sound of this wonderful song. The entire room was singing the chorus in unison. How cool!

The band plays well with a strong and cohesive rhythm section, on a bed made by the synthesizers, and mainly, with the spaces and silences. The vocals navigate comfortably and resounding in the stanzas well marked by the bass and drums and fires in the strong and melodic choruses with the guitar very present. It’s a foolproof recipe. However, it is also extremely well-done by the White Lies.

To calm the horde Hurt My Heart, Time to Give followed. This song has a beautiful and ravishing keyboard, very nostalgic. If you have has ears, listen to it.

They fired again not forgetting Tokyo and Mars. They left the stage without much space to breath because the audience simply wouldn’t let it happen. To end in beauty, the encore brought Death, As I Try Not To Fall Apart and finally, Bigger Than Us.

Could more be asked? Maybe yes, but it wouldn’t be fair! Great band.

texto: Paulo Carmona; fotos: Hiliana Silva Melo

Quando alguém quiser saber o que é, de facto, Alternative Indie Rock’n’Roll de qualidade, no seu estado mais puro e direto, sem subterfúgios e sem rodeios, é simples! Vá ver um concerto dos White Lies e todas as dúvidas se dissiparão.

No passado dia 17 de maio a sala 1 do hard club estava bem preparada para receber os britânicos que se apresentaram ao seu público, fiel e dedicado, diga-se em abono da verdade. E com toda a energia e dedicação que se pode exigir a profissionais do ramo, os White Lies não defraudaram as expectativas do seu séquito.

Começam logo abrir com Fairgraound levando a sala ao delírio. Que bela maneira de iniciar um espetáculo. Se é para curtir, siga! Para não perder o ritmo, seguiu-se logo: There Goes Our love Again, Am I Really Going to Die e para pegar logo fogo à sala, To Lose My Life. Também eu não me aguentei à bronca e, que remédio, toca a abanar a cabeça ao som super ritmado deste maravilhoso tema. Toda a sala cantava o refrão em uníssono. Que cool!

Esta banda joga bem com a secção rítmica, forte e coesa, com a cama feita pelos sintetizadores, e principalmente, com os espaços e silêncios. A voz navega confortável e sonante nas estrofes bem marcadas pelo baixo e bateria e dispara nos refrões fortes e melódicos com a guitarra bem presente. É uma receita infalível. Só que também muitíssimo bem feita pelos White Lies.

Seguiram-se Hurt My Heart, Time to Give para acalmar as hostes. Este tema tem um teclado lindíssimo e arrebatador, muito nostálgico. Quem tiver ouvidos, oiça.

Voltaram à carga sem esquecer Tokyo e Mars. Saem do palco sem grande espaço para descansar porque o público simplemente, não deixou. O encore trouxe Death, As I Try Not To Fall Apart e por fim, Bigger Than Us, para acabar em beleza.

Podia-se pedir mais? Se calhar sim, mas não seria justo! Grande banda.

Three tempi metal

words: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota

The performances of Black Wizards, MaidaVale and Earthless at Hard Club gave everyone who filled Sala 2 with a very interesting and rewarding sample of some metal trends.

1. The Black Wizards

An auspicious start by Black Wizards in an electrifying, head-swinging performance. Joana Brito’s (guitar/vocals) band, the returning Helena Peixoto (drums) and the newly integrated José Roberto (bass), the latter with a history of collaborative complicity with band from Barcelos, interpreted themes from a discography that has revealed a progressive maturation. Black Wizards played a full-bodied concert with much of the best that the metal menu has to offer in creative syntheses and incendiary riffs, colored by the fuzz sounds of the 70s, without abdicating their own personality, to which increasingly confident of Joana Brito’s voice and the virtuosity of José Roberto aren’t alien.

2. MaidaVale

For lovers of female rock sounds from the early 70s, Swedish MaidaVale did not disappointed, presenting on stage a consistent performance in which the psychedelic affiliation was assumed in a fluid and sometimes involving tone, seasoned with funky phrases, fuzz textures and stoner evocations. The band has been acquiring greater solidity, attested by their album Madness is Too Pure (2018) – that was the main source of the repertoire -, detaching itself from a certain predictability of Tales Of The Wicked West. We are before an interesting band to which Matilda Roth’s voice lends a particular personality, with a solid instrumental body, with virtuoso strings with controlled voltage (Sofia Ström), highlighting the creative articulation of the drums (Johanna Hansson) and bass (Linn Johansson), with refreshing and groovy melodic lines announced early on with Trance, Oh Hysteria! or Walk in Silence, themes from their latest album, attesting to the band’s greater refinement confirmed by the performance in Porto.

3. Earthless (Mario Rubalcaba, drums; Isaiah Mitchell, guitar; Mike Eginton, bass)

The Much awaited Californian trio Earthless provided an appreciable musical journey, both for the duration of the songs that make up their latest album Night Parade of One Thousand Demons and for their quality, confirming them as excellent composers in the realm of psychedelic heavy metal. A sound narrative inspired by a Japanese legend from which they took the title of their last album, Earthless unleasehd the demons, driving emotions through the cohesive and virtuous instrumental progression, the long descriptive solos and riffs that echo the references of the best metal, krautrock jazzy even, in an immaculate stage performance that ended, as an encore, with Cherry Red, the 2007 theme (Rhythms From a Cosmic Sky) in which Isaiah Mitchell’s voice emerges, surprisingly – and captivating – redesigning the sound of band.

Metal a três tempos

texto: Neno Costa; fotos: Telma Mota

As atuações de Black Wizards, MaidaVale e Earthless no Hard Club proporcionaram a todos quantos lotaram a sala 2 uma amostra muito interessante e recompensadora de algumas das tendências metálicas.

1. The Black Wizards

Abertura auspiciosa com Black Wizards numa atuação eletrificante de baloiçar cabeças. A banda de Joana Brito(guitarra/voz), da regressada Helena Peixoto (bateria) e do recém integrado José Roberto (baixo), este último com um histórico de cumplicidades colaborativas com a banda de Barcelos, interpretaram temas de uma discografia que tem revelado um amadurecimento progressivo. (A)os Black Wizards deram um concerto bem encorpado com muito do melhor que o cardápio metálico tem para oferecer em sínteses criativas e riffs incendiários, tingido pelas sonoridades fuzz dos 70s, sem abdicarem de uma personalidade própria, à qual não são alheias a voz cada vez mais segura de Joana Brito e o virtuosismo de José Roberto.

0. MaidaVale

Para os apreciadores das sonoridades femininas do rock dos inícios dos anos 70, as suecas MaidaVale não terão desapontado, apresentando em palco uma atuação consistente onde a filiação psicadélica foi assumida num tom fluído e por vezes envolvente, temperada com frases funky, texturas fuzz e evocações stoner. A banda tem vindo a adquirir maior solidez, atestada pelo seu álbum Madness is Too Pure (2018) – que ocupou a maior parte do reportório-, descolando-se de uma certa previsibilidade de Tales Of The Wicked West (2016). Estamos perante uma banda interessante à qual a voz de Matilda Roth empresta uma personalidade particular, com um corpo instrumental sólido, com cordas virtuosas de voltagem controlada (Sofia Ström), destacando-se a articulação criativa da bateria (Johanna Hansson) e do baixo (Linn Johansson), com linhas melódicas refrescantes e groovy anunciadas logo desde início com Trance, Oh Hysteria! ou Walk in Silence, temas do seu último álbum, atestando maior refinamento à banda que a atuação no Porto confirmou.

0. Earthless

Muito aguardados, o trio norte-americano Earthless proporcionou uma viagem musical apreciável, quer pela duração dos temas que compõem o seu último álbum “Night Parade of One Thousand Demons”, quer pela qualidade dos mesmos, confirmando-os como compositores exímios do universo do heavy metal psicadélico. Narrativa sonora inspirada numa lenda japonesa à qual foram buscar o título do seu último álbum, os Earthless libertaram os demónios, conduzindo as emoções através da progressão instrumental coesa e virtuosa, dos longos solos descritivos e riffs onde ecoam as referências do melhor metal, krautrock e até jazzísticas, num desempenho imaculado em palco que terminou, em jeito de encore, com Cherry Red, tema de 2007 (Rhythms From a Cosmic Sky) no qual a voz de Isaiah Mitchell emerge, redesenhando de forma surpreendente – e cativante – a sonoridade da banda.

words: Paulo Carmona (freely tanslated by Raquel Pinheiro); photos: Hiliana Silva Melo

A recital of beautiful melodies. With this small and simple sentence I could describe Tindersticks’ concert at Coliseu, in Porto.

This phenomenon is not for every band. The members of Tindersticks practically did not move on stage, except to change instruments. However, at every second it was felt in the air that they were feeling their music like no one else in the room. They put all they had as creators and musicians in every note, in every riff, in every segment – that’s a large part of whom they are.

Unbridled talent and brilliant execution of the songs, one after another.

In a set-list of more than 20 songs the band won over the audience, setting (an almost full) room on fire several times that at each performed song was already there.

They stared with Willow, A Night So Still, Medicine and She’s Gone in which the guest musicians that accompanied the core of the band, led by the charismatic Stuart Staples, appeared on stage and soon after Her, the orchestra made its entrance. On several occasions, the Coliseu stage had more than 15 musicians performing. Tindersticks are already overly melodic, but with orchestration it becomes epic. Any song could be a movie soundtrack of the highest level. A luxury.

Another Night In, City Sickness, My Sister, Johnny Guitar, My Obvlivian, Show Me, Sometimes It Hurts, Harmony and For The Beauty, among many others, were also played. We were entitled to two encores exponentially requested by the audience that didn’t stop nor got tired of standing up. It was touching. I can imagine how it was for the musicians. And there were reasons for that. Stuart Staples’ incomparable voice packs all that alternative indie rock into a slow or moderately haughty cadence.

texto: Paulo Carmona (freely tanslated by Raquel Pinheiro); fotos: Hiliana Silva Melo

Um recital de belas melodias. E podia com esta pequena e singela frase descrever este concerto dos Tindersticks no coliseu do Porto.

Este fenómeno não é para qualquer banda. Os elementos dos Tindersticks praticamente não se movimentam em palco, a não ser para trocar de instrumentos. Todavia, a cada segundo se sentia no ar que eles estavam a sentir a sua música como ninguém mais naquela sala. Depositam em cada nota, em cada riff, em cada segmento, tudo de si enquanto criadores e músicos, e isso, é muito do que eles são. Talento desmedido e execução brilhante dos temas, um após outro.

Num set-line com mais de 20 canções, conquistaram o público, que já o estaria, a cada canção interpretada levando a sala (quase cheia) ao rubro por diversas vezes.

Começaram com Willow, A Night So Still, Medicine e She’s Gone em que surgiram em palco os elementos convidados que acompanhavam o núcleo duro da banda liderada pelo carismático Stuart Staples e logo após Her, a orquestra entra em palco. Por diversas vezes o palco do coliseu chegou a ter mais de 15 músicos a atuar. Tindersticks já é sobejamente melódico, mas com orquestração torna-se épico. Qualquer música daria para banda sonora de cinema ao mais alto nível. Um luxo.

Não faltaram Another Night In, City Sickness, My Sister, Johnny Guitar, My Obvlivian, Show Me, Sometimes It Hurts, Harmony e For The beauty entre muitas outras. Tivemos direito a 2 encores exponencialmente solicitados pelo público que não parava e não se cansava de aplaudir de pé. Chegou a ser comovente. Imagino para os músicos. E havia motivos para tal. A incomparável voz de Stuart Staples embala todo aquele indie rock alternativo em cadência lenta ou moderadamente altivo.

Isto não é para quem quer, é para quem pode. E pode porque vive a música pela música e esse amor em forma de melodia transborda para o mundo compactado em sons com que se fazem as canções.

words & photos: Raquel Pinheiro

Sala Estúdio Perpétuo is a cinema and concert venue on the grounds of the former Sala Estúdio, a 1966 cinema within a building designed by architect Luiz Cunha. The weekend was divided between an indoors concert, Miaux + Paraíso Plástico and an outdoors one, Sereias.

Miaux + Paraíso Plástico

Paraíso Perdido (João Pinho) gave its debut concert Saturday evening. Electronic landscapes of a certain intensity were the defining key of Paraíso Perdido’s concert. Miaux (Sarajevo born Belgian musician Mia Prec) and her vintage Casio filled the room with melodies that ranged from a blink to the dance floor to baroque music. It was a soul filling performance with cinematic tones, quite appropriated to the beautiful cinema room where Miaux was playing.

Sereias

The following late afternoon Serieas presented their self-titled second album. As usual to anyone familiar with their live sets, Serias line-up is ever changing with a few constants and their concerts are far different, much more raw, groovy and in your face than their albums. António Pedro Ribeiro (vocals), Arianna Casellas (vocals, electronics), João Pires (drums), Tommy Luther Hughes (bass), Kaué Grindi (guitar), Nils Meisel (electronics) and Ra-Yacov (trumpet) along with Kenneth Stitt occasional improv performance appearances, lead the audience into a tribal, primeval funk.

João and Tommy are a devilish rhythm section that carries and sustains the rest of the band, much the other may lead towards the abyss, glory, or both. Live, with Sereias it is an almost non-stop dancing, a trip to another universe filled with warm grooves, sharp inflections, chaotic, yet never too far-out, out-bursts of energy. Everything always seems to be about to crumble, to be too maniac, and at times it is maniac and sharp and insane, but it always returns to a more “restrained” path.

Fitting that Adolfo Lúxuria Canibal wrote the new album presentation text. If there is a live band in which Mão Morta’s early years energy and spirit is present it is in Sereias.

text: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota

Helms Alee
Seattle’s trio Helms Alee returned to Portugal, ensuring they were a stimulating opening act, combining a rough sound texture with well-matched and creative melodic brushstrokes, avoiding the most commonplaces of noise rock. Portentous bass and energetic drums, refreshed by an intense guitar Helm Alee fulfilled the first part of the concert almost without fault (it seems that in Lisbon it was better), leaving our mouths watering to be better listened to.

Russian Circles
With a well-defined identity, Russian Circles belong to the sound universe of excellent composers of instrumental post-rock, such as Mono or Godspeed You! Black Emperor (some great concerts promoted by Amplificasom are fondly remembered).
Masters of an energy purified from the gratuitousness of the formulas that inhabit some worlds of the heaviest sounds, the Chicago trio saluted those who sold out Hard Club’s Sala 2 with a first-class sonic trip. The pretext of their latest album Blood Year (2019), which promotion was cur short by the pandemic, served as a ride to revisit some of the many brilliant themes that inhabit Russian Circles seven studio albums.
In fact, only two themes from their latest work were included in the proposed menu -Arluck and Quartered- the first as an opening painting the air with Brian Cook’s portentous bass, followed by Dave Turncrantz’s vigorous beat dilating the walls of the room, merging with Mike Sullivan’s irreproachable guitar electrifying the hanging heads. A lingering guitar riff filled the air with Afrika (Guidance, 2016), on a journey from primordial ingenuity to an indefinable urgency to lead to redemptive hope. Subjective landscapes, yes, but also one of the merits of some aphonic bands, as is the case. Harper Lewis (Station, 2008) continued the well-woven progression of the line up, with punchy rhythmic phrases hand in hand with moving and fresh melodic clearings.
The first clear chords of Quatered progressed until collapsing in an eloquent and overwhelming harmonic avalanche. If digitally reproduced sound is tasty, live is even more superlative, full-bodied, crisp and immersive. Tuned like clocks, without scenic artifice or gestural theatrics Russian Circles guided the audience’s emotions through dynamic and fluid bridges between unique landscapes such as Deficit (Memorial, 2013), 309 (Empros, 2011), Conduit (recent theme) and Vorel. (Guidance, 2016) ending with Youngblood (Station, 2008) in a well-constructed visceral intensity to finish off an impeccable concert that we already miss.

texto: Neno Costa; fotos: Telma Mota

Helms Alee
O trio de Seattle Helms Alee regressou a Portugal, assegurando uma primeira parte estimulante, conjugando uma textura sonora áspera com pinceladas melódicas bem conjugadas e criativas, evitando os lugares mais comuns no noise rock. Baixo portentoso e bateria enérgica, refrescadas por uma guitarra intensa, os Helm Alee cumpriram a primeira parte do concerto quase sem mácula (parece que em Lisboa esteve melhor), deixando água na boca para melhores audições.

Russian Circles
Com uma identidade bem definida, os Russian Circles pertencem ao universo sonoro de compositores exímios nos trilhos do post-rock instrumental como são, por exemplo, os Mono ou os Godspeed You! Black Emperor (recorda-se com saudade alguns dos grandes concertos promovidos pela Amplificasom).
Senhores de uma energia depurada da gratuitidade das fórmulas que habitam alguns territórios das sonoridades mais pesadas, o trio de Chicago brindou todos quantos esgotaram a sala 2 do Hard Club com uma viagem sónica em primeira classe. O pretexto do seu último álbum “Blood Year”(2019), cuja promoção se viu amputada pela pandemia, serviu de boleia à revisitação de alguns dos muitos temas brilhantes que habitam os sete álbuns de estúdio dos Russian Circles. Com efeito, somente dois temas do seu último trabalho integraram a ementa proposta -Arluck e Quatered-, com o primeiro a abrir o concerto e a pintar o ar com o baixo portentoso de Brian Cook, seguido pela batida vigorosa de Dave Turncrantz a dilatar as paredes da sala, fundindo-se com a guitarra irrepreensível de Mike Sullivan a eletrificar as cabeças penduladas. O riff prolongado da guitarra encheu o ar com Afrika (Guidance, 2016), numa viagem da ingenuidade primordial até uma urgência indefinível para desembocar numa esperança redentora. São paisagens subjetivas, sim, mas esse é, também, um dos méritos de algumas bandas afónicas, como é o caso. Harper Lewis (Station, 2008) deu continuidade à progressão bem tecida do alinhamento, com frases rítmicas enérgicas de mão dada com clareiras melódicas, comoventes e frescas.
Os primeiros acordes de Quartered, límpidos, progrediram até desabar numa avalancha harmónica, eloquente e arrebatadora. Se o som reproduzido digitalmente é saboroso, ao vivo é ainda mais superlativo, encorpado, nítido e envolvente. Afinados como relógios, sem artifícios cénicos ou teatralidade gestual, os Russian Circles guiaram as emoções do público através de pontes dinâmicas e fluidas entre paisagens únicas como Deficit (Memorial, 2013), 309 (Empros, 2011), Conduit (tema recente) e Vorel (Guidance, 2016) terminando com Youngblood (Station, 2008) numa intensidade visceral bem construída a rematar um concerto irrepreensível que deixou saudades.