Corte – Trinta e Nove

capa_trintaenove

by Raquel Pinheiro

Trinta e Nove is Corte’s debut album. An album of quiet, delicate beauty. Nine love, longing and broken heart songs, written, sang and played by Francisco Santos. Voice, acoustic guitar, the odd piano brush strokes, create a canvas of poetic sorrow, both in words as in music. Simplicity, often the hardest thing to achieve, is perfectly mastered by Francisco Santos. Stripped down to the bare minimum, with the voice leading and the guitar emphasizing the words, that raise above a gentle, melancholic musical tapestry, only slightly shaken with the hurting, poignant Outono Em Flor, the album first single and its most upbeat song.

(EXPLX, 2018)

METZ – Strange Peace

METZ, Strange Peace

by Guilherme Lucas (freely translated by Raquel Pinheiro)

Strange Peace, the third album of Canadian band METZ, one of the most exceptional current do noise-rock post-grunge/punk/hardcore collectives, is, essentially, an album haunted by the baton of its producer, the mighty Steve Albini. Everything in this album makes sense as far as the inevitable meeting along the timeline between band and master is concerned: because they are one of the greatest heirs and current reinventers of the Seatlle’s sound that dominated the planet in the 90s also for being umbilically aesthetically and creatively linked to Sup Pop, and Steve Albini  because he is an institution of his own right of this type of sound, always innovating, sometimes as a musician (Big Black, Shellac), other times as a sound engineer/producer (among countless works, Nivarna’s inescapable In Utero is inevitably stressed

In Strange Peace, Metz show themselves with a more natural and concrete sound, retaining the constant, magical demential and explosive combustion of their themes, but this time, with a dense and more detailed intensity; would even risk considering it progressive and experimental, as if reorienting the band’s future towards new latitudes. There are many moments in this piece that remind PIL’s debut album, or even earlier Killing Joke. We believe that this is a way to refresh a whole traditional identifiable universe of the band that lays on Nirvana, Mudhoney, Sonic Youth, Melvins and a few others that they are eternally associated by the musical press and not just to the structural sound of the band. Strange Peace is a perfect album to any lover of underground rock, in its most noise and extreme aspect and whole its 36 minutes of urgent listening are highly recommended.

Metz are currently touring Europe promoting Strange Peace and with two concerts next week in Portugal: Tuesday, 17, at Musicbox, Lisboa and the next day, Wednesday, 18, at Hard Club, Porto. American band Moaning, also from Sub Pop, will be the opening act. By the vertiginous intensity of their music, but above all because of their excellent and demolishing live performances, for a start, we expect nothing less from METZ than an excellent concert …in the end, we anxiously expect that it is also one of those auditively therapeutic; those that save our days and gave meaning to our existence.

(Sub Pop, 2017)

 

                                                   —- /////—–                             …../////….       

por Guilherme Lucas

Strange Peace o terceiro longa duração dos canadianos Metz, um dos mais excepcionais coletivos do noise-rock pós-grunge/punk/hardcore da atualidade, é, essencialmente, um álbum assombrado pela batuta do seu produtor, o enorme Steve Albini. Tudo neste álbum faz sentido no que ao encontro inevitável na linha do tempo entre banda e mestre diz respeito: os Metz porque são uns dos maiores herdeiros e reinventores nos dias de hoje do som de Seatlle que dominou o planeta nos anos 90 e também por estarem umbilicalmente ligados esteticamente e criativamente à editora Sub Pop, e Steve Albini porque é uma instituição em si mesmo deste tipo de som, sempre inovando, ora como músico (Big Black, Shellac), ora como engenheiro de som/produtor (entre inúmeros trabalhos, salienta-se inevitavelmente o incontornável In Utero, dos Nirvana).

Em Strange Peace, os Metz revelam-se com um som mais natural e mais concreto, permanecendo a constante e mágica combustão demencial e explosiva tão caraterística dos seus temas mas desta vez com uma intensidade mais densa e mais cuidada nos pormenores; arriscaríamos a considerar até de progressiva e experimental, como que a reorientar para novas latitudes o futuro da banda. Há muitos momentos neste seu trabalho que lembram o álbum de estreia dos PIL ou até Killing Joke dos primeiros tempos. Acreditamos ser esta uma forma de refrescar todo um universo identificativo tradicional da banda que acenta nos Nirvana, Mudhoney, Sonic Youth, Melvins e mais uns poucos e que são eternamente associados pela imprensa musical e não só ao som estrutural da banda.  Strange Peace é um álbum perfeito para qualquer amante de rock underground, na sua vertente mais noise e extrema e aconselham-se vivamente todos os seus 36 minutos de audição urgente.

Os Metz estão atualmente em tour europeia a promover Strange Peace e com duas datas já na próxima semana em Portugal: dia 17, terça-feira na Musicbox, Lisboa e no dia seguinte, dia 18, quarta-feira, no Hard Club, Porto. Os norte-americanos Moaning, também da editora Sub Pop, farão a 1.ª parte. Pela intensidade vertiginosa da sua música, mas acima de tudo pelas suas excelentes e devastadoras performances ao vivo, dos Metz não esperamos menos do que um excelente concerto à partida… no final aguardamos ansiosamente que seja também um daqueles auditivamente terapêuticos; dos que salvam os nossos dias e dão sentido à nossa existência.

 

(Sub Pop, 2017)

   

Dead Combo – Odeon Hotel

DeadCombo OdeonHotel_small

by Raquel Pinheiro

Odeon Hotel, Dead Combo’s 7th studio album, is not a far cry from Tó Trips and Pedro Gonçalves band usual sound. The mix of fado, spaghetti westerns soundtracks, some flavours of americana and blues, a touch of Africa, Northern & Sub-Saharan, an invocation of a jazz big band (in a reduced format), are all there. Where it stands apart is on its more grounded, more matured, yet, still fresh way of assembling all the, apparently, disjointed parts, in a whole unique scenery.

Produced by Alain Johannes (Queens of the Stone Age), who also contributes with vocals and guitar playing, and with guest musicians Alexandre Frazão (drums), João Cabrita (baritone, tenor and alto sax), Bruno Silva (viola), Mick Trovoada (percussion), Odeon Hotel’s thirteen tracks show a band secure in its path, not afraid of adding new layers to its creativeness and using guest musicians and singer, Mark Lanegan in I know, I Alone (English translation of Fernado Pessoa’s Ah, só eu sei) in an effective and interesting way.

Lenegan’s vocals brings a dark, dragged, sombre, painful tone that perfectly convey’s Pessoa’s poem spirit. Behind it, the music is a match, slow, grey, serious, funerary. Verdi’s La Forza Del Destino cover sees the Italian composer music absorbed and transmuted in a tender and sorrowful cry of fate/fado.

Joyous, more deconstructed, danceable even, moments can be found in Theo’s Walking and Desassossego and don’t lurk far in Deus Me Dê Grana.

(Sony Music, 2018)