Category: Concerts

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

The most seasoned man in Porto had his birthday on the 28th of January and, as usual, he tried to do it with pomp and circumstance. From a cool, thematic, quaint and original celebration of years past, it turned into one more hell of a mess. If before, amidst smiles, greetings, sidelong glances and the likes one wandered from room to room, more or less calmly, today we moved with difficulty amid pushing, inevitable rubbing, insults, spilled beer, the smell of sweat and more or less less lawful aromas. However, also with peace of mind because the mood is celebratory. And it was all quite cute.

Let’s get down to business: the music and musical projects that were part of this year’s menu. And here I have to confess that it is completely impossible to cover all the performances decently, with deserving attention since concerts were taking place at the same time. I’m going to be a generalist and dwell a little more on some projects that I had the chance to savour more closely.

The aforementioned menu included: Paulo Cunha Martins, Tó Trips, Inês Malheiro, Clementine, Querido Lider, House Plants, Lefty, Travo, Sarnadas, Surma, O Gajo (The Guy) who did not caught covid last here (I did), The Black Wizards, Alex Silva, Ricardo Martins, Baleia Baleia Baleia, Otsoa, Kurtis Klaus Ensemble, A Boy Named Sue (records player) and on Mupi gallery, Azia. That is, a real Festival. Everyone gave their best contribution and from the lineup I highlight those I was able to see and hear more carefully given the circumstances.

I will start with Surma, Débora Umbelino’s project who presented herself as herself: irreverent, lascivious, among experimental electronics, at times minimalist, among samplers, frenetic guitars, distorted bass and unconventional instruments, song after song, always reinventing herself with a lot of grit and the attitude of someone who already does it for love and with lots of confidence. Very nice.

The Black Wizzard left me for dead. Okay, that’s it, pure and hard. They deliver Rock’n’Roll in such a powerful and electrifying way that puts any audience on alert. The nostalgic 70’s are impregnated in their melodies. Joana Brito’s voice, every now and then, reaches incredible notes, with a remarkable and consistent vocal range. The guitar is crazy, full of attitude, it breathes fire with grit and arrogance that will make any lover of the genre shiver. The bass is exuberant and super-competent, making bedding well with the drums while the guitar and the voice lie in a humid, agitated and adolescent dream. At times, reminding me of the Yeah Yeah Yeahs, other times of The Raconteurs. The first ones for the vocalizations, the second ones for the competent syncopes, starts and sound daydreams. An excellent surprise.

Baleia Baleia Baleia are beyond crazy every day. Which is good. Very good. Drums and vocals, Bass and vocals … and that’s it! Then it’s hearing and seeing all that. Yes, because it is to be seen. There are bands like this. It’s licking wounds from beginning to end of their performance. Of course there was first class pogo, slam and mosh. How not to? It seems that they are always ready to party and it inevitably happened. Punk, garage; power pop and everything you want to put on a pizza with an irreverent flavor.

Then it was over for some. For others the night carried on into another memorable night in Porto with a rhythmic base. Salgado!, mate, keep having a birthday!

texto: Paulo Carmona; fotos: Telma Mota

O homem mais bem temperado do Porto fez anos no passado dia 28 de Janeiro e, como é habitual, tratou de o fazer com pompa e circunstância. De uma comemoração bacana, temática, catita e original de outros anos, passou a ser isso tudo, mais uma confusão do caraças. Se dantes entre sorrisos, cumprimentos, olhares de soslaio e afins, se ia deambulando de sala em sala, mais ao menos tranquilamente, hoje movemo-nos com dificuldade entre empurrões, roço inevitável, impropérios, cerveja entornada, cheiro a suor e aromas mais ou menos lícitos. Mas também com tranquilidade pois o estado de espírito é de festa. E foi tudo muito giro.

Mas vamos ao que interessa. A música e os projetos musicais que faziam parte do cardápio deste ano. E aqui tenho de confessar que é de todo impossível cobrir decentemente todas as atuações, com a atenção que todas merecem uma vez que os concertos decorriam ao mesmo tempo. Vou ser generalista e deter-me um pouco mais em alguns projetos que tive hipótese de degustar com mais atenção.

Do supracitado cardápio faziam parte: Paulo Cunha Martins; Tó Trips; Inês Malheiro; Clementine; Querido Lider; House Plants; Lefty; Travo; Sarnadas; Surma; O Gajo que não apanhou covid o ano passado (eu apanhei); The Black Wizards; Alex Silva; Ricardo Martins; Baleia Baleia Baleia; Otsoa; Kurtis Klaus Ensemble; A boy Named Sue (Bota discos) e no Mupi gallery, Azia. Ou seja, um verdadeiro Festival. Todos deram o seu melhor contributo e deste alinhamento destaco o que me foi possível ver e ouvir com mais atenção, dadas as circunstâncias.

Começo por Surma, projeto de Débora Umbelino que se apresentou igual a sí própria: irreverente, lasciva, entre uma eletrónica experimental, ás vezes minimalista, entre samplers, guitarras frenéticas, baixos distorcidos e instrumentos pouco convencionais, musica após música, reinventa-se sempre com muita garra e atitude de quem já o faz por amor e com muita confiança. Muito nice.

Os Black Wizzard partiram-me todo. Pronto, é assim, puro e duro. Debitam um Rock’n’Roll de tal maneira potente e eletrizante que põe qualquer audiência em estado de alerta. Os saudosos 70’s estão impregnados nas suas melodias. A voz da Joana Brito, volta e meia, atinge notas incríveis, com uma amplitude vocal notável e consistente. A guitarra é uma coisa louca, cheia de atitude, cospe fogo com garra e altivez que arrepiam qualquer amante do género. O baixo é exuberante e super-competente, fazendo bem a cama com a bateria onde se deitam a guitarra e a voz num sonho húmido, agitado e adolescente. Às vezes, aqui e ali, fez-me lembrar Yeah Yeah Yeahs, outras vezes, The Raconteurs. A primeira pelas vocalizações, a segunda pelas competentes sincopes, arranques e devaneios sonoros. Uma excelente surpresa.

Baleia Baleia Baleia é chanfradíssimo todos os dias. O que é bom. Muito bom. Bateria e voz; Baixo e voz… e chega! Depois, é ouvir e ver aquilo tudo. Sim, porque é para ser visto. Há bandas assim. É a lamber as feridas do princípio ao fim da atuação. Claro que houve pogo, slam e mosh do bom. Como não? Parece que estão sempre prontos para a festa e que acabava por acontecer, inevitavelmente. Punk; Garage; Power pop e tudo o que quiserem meter na pizza de sabor irreverente.

Depois acabou para alguns, para outros continuou noite fora e mais uma noite memorável Porto com base rítmica. Oh Salgado, continua a fazer anos, pá!

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

The Black Angels filled Hard Club for an intense psychedelic resuscitation with a pedagogical line-up, revisiting a two-decade career, highlighted by the promotion of their sixth and most recent album Wilderness of Mirrors (2022). In the second concert of the European tour that had started in Lisboa, the band from Austin, Texas, offered an impeccable rock’n’roll performance, more than a virtuous re-visitation of the psychedelic canons.

Alex Maas (vocals/bass), Christian Bland (guitar), Stephanie Bailey (drums), Jake Garcia (guitar), Ramiro Verdooren (multi-instrumentalist) opened with You On Te Run (Directions To See a Ghost, 2006) filling the air with elongated and lilting riffs, evoking the best sound collections that the sixties offered us, such as the Velvet Underground, Black Sabbath, Doors or Neil Young.

The Black Angels continued on an irreproachable journey through their discography, offering immersive and hypnotic, sometimes dark, acoustic scenarios. The voice of Alex Maas was another happy instrument of the quintet, well combined with the energetic dialogues of the guitars, well tempered with the proper doses of dissonances, droning, stoner or krautrock brushstrokes, summoned throughout the irreproachable performance that culminated with Empire Falling, from their latest album, served before a generous encore with which The Black Angels closed a memorable night.

texto: Neno costa; fotos: Telma Mota

Os Black Angels encheram o Hard Club para uma ressuscitação psicadélica intensa com um alinhamento pedagógico, revisitando uma carreira de duas décadas,com destaque para a promoção do seu sexto e último álbum ” Wilderness
of Mirrors”(2022). Segundo concerto da digressão europeia que iniciaram em Lisboa, a banda de Austin, Texas, ofereceu uma atuação impecável de rock’n’roll, mais do que uma revisitação virtuosa dos cânones psicadélicos.

Alex Maas (vocalista/baixista), Christian Bland (guitarrista), Stephanie Bailey (baterista), Jake Garcia (guitarrista), Ramiro Verdooren (multi-instrumentista) abriram a atuação com You On Te Run(Directions To See a Ghost, 2006) a encher o ar com riffs alongados e cadenciados, evocando as melhores colheitas sonoras que os anos sessenta nos ofereceram , como os Velvet Underground, Black Sabbath,
Doors ou Neil Young.

Os Black Angels prosseguiram numa viagem irrepreensível pela sua discografia, oferecendo cenários acústicos envolventes e hipnóticos, por vezes sombrios. A voz de Alex Maas foi mais um instrumento feliz deste quinteto, bem conjugada com os diálogos enérgicos das guitarras, bem temperadas com as devidas doses de dissonancias, droning, stoner ou pinceladas krautrock, convocadas ao longo do desempenho irrepreensivel que culminou com “Empire Falling”, do seu último trabalho, servido antes de um generoso encore com que fecharam uma noite memorável.

words & photos: Raquel Pinheiro

Dance! Dance! Dance! … to Fujiya & Miyagi! What a hell of a danceable party Fujiya & Miyagi’s concert at Mouco, in Porto, it was. A relentless assault of groove, intensity, joy and upbeatness.

Fujiya & Miyagi were presenting their new and ninth album Slight Variations of which they played an assortment of songs, including the opening one, Non-Essential Worker, as well as the title track, Digital Hangover or New Body Language.

Those and others songs, from previous albums, Freudian Slips, Ankle Injuries, Extended Dance Mix, Collarbone to name a few were all delivered with a ferocious mix of metronome precision and total freedom and abandonment. A singular mix of a blink of an eye to the symmetry and immaculate perfection of krautrock and the wildness of the most hedonistic dance floor.

The audience responded in kind to David Best (guitar, vocals), Stephen Lewis (synths, electronics), Ben Adamo (bass) and Ed Chivers (drums) by dancing like there was no tomorrow. They say an image is worth a thousand words and I feel like posting all the photos I took of the audience that illustrate such saying.

Oh!, by the way, did I mentioned the bass? No? Then, it was a thing of the Devil who, as it is well known, owns all the best grooves.

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

GNration’s Blackbox in Braga held acoustic performances by Michael Gira and Kristof Hahn. Veterans of a unique musical expression condensed in the legendary Swans, Gira and Hahn performed in a more intimate format to a sold-out room, similar to Espinho, where their European tour ended.

Kristof Hahn

Opening with Ode to the city, followed by Erwachen, from the album Six Pieces (2021), saturating the space with a hypnotic and engaging awakening, reverberating Hahn’s experimental drive. The German musician and composer performed several of his songs and some covers, using a virtuously manipulated lap-steel guitar as his instrument of choice, creating almost drone-like soundscapes, interwoven with a deep voice, in a way, evoking the immortal Cash.

Michael Gira

It was an austere Michael Gira who took the stage under a reverential silence expectation. Armed with his baritone voice inflated with intensity, Gira sung several songs included in the album Is There Really a Mind? (The Parasite, Unforming ou The Beggar) in a sonic antechamber for the next Swans’ album, which clothing was served raw, dilated with abrasive and rhythmic acoustic mantras, cut with simple and wise chords, accentuating the poetic richness of the lyrics, a brilliant stronghold of disturbance and sensitivity.

texto: Neno Costa; fotos: Telma Mota

A Blackbox do GNration em Braga foi palco das atuações em formato acústico Michael Gira e de Kristof Hahn. Veteranos de uma expressão musical singular condensada nos lendários Swans, Gira e Hahn apresentaram-se num formato mais intimista numa sala esgotada, à semelhança do que ocorreu em Espinho, onde encerraram a sua digressão europeia.

Kristof Hahn

Abertura com Ode à cidade, seguida de Erwachen, tema do ábum Six Pieces (2021), a saturar o espaço com um despertar hipnótico e envolvente, reverberando a pulsão experimentalista de Hahn. O músico e compositor alemão percorreu diversos temas seus e algumas covers, tendo como instrumento de eleição uma guitarra lap–steel virtuosamente manipulada, criando paisagens sonoras num registo quase drone, entretecidas com uma voz profunda evocando, de certo modo, o imortal Cash.

Michael Gira

Foi um Michael Gira austero a ocupar o palco sob um silêncio de expetativa reverencial. Armado com a sua voz de barítono insuflada de intensidade, Gira partilhou diversas canções incluídas no álbum Is There Really a Mind? (The Parasite, Unforming ou The Beggar), numa antecâmara sonora do próximo álbum dos Swans, cuja roupagem foi servida crua, dilatada com mantras acústicos abrasivos e compassados, recortada com acordes simples e sábios, acentuando a riqueza poética das letras, reduto brilhante de perturbação e sensibilidade.

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.