Amazing Songs & Other Delights #54 – The Ascend-Descend edition is tomorrow, Monday 20th, 3-4pm (gmt) on Yé Yé Radio:https://yeyeradio.com/ (or on the app).
The title refers to the flow of the very eclectic musical selection, comprasse of recent or just out instrumentals and songs, of this edition of the programme.
Tracklist: 01: Rafael Toral – Intro + Changes (except) 02: Cabrita – Todo Torto 03: Helado Negro – I Just Want To Wake Up With You 04: J. Masis – Can’t Believe We’re Here 05: King John – The Water 06: Mary Timony – Dominoes 07: MOORIS – 04 08: O Gajo – Corrosão 09 – Swansea Sound – Paradise 10: The Lemonheads – Fear of Living 11: The Smile – Wall Of Eyes 12: Ty Segall -My Room 13: Vince Clarke – The Lamentations of Jeremiah 14: youbet – Carsick 15: Francisco Sassetti – Sara Is Happy
It was an evening of Wimtrasts and counterpoints. Warmness, homeness, romanticism, afable communication – Francisco Sassetti – sparcity, dislocation, strangeness, non verbal speak – Win Mertens.
Portugue pianist and composer premiered his debut album, Home, Monday night. Home is a beautiful record filled with intimate, personal, homely, sacred even, pieces. It is also imbued in melancholy, joy, longing, wonder.
Talkative, Francisco told small stories and contextulized every theme throughout his performance. Opening in a nightly mood, with Home’s two nocturnes, Nocturne I and Nocturne II, moving to the journeying title track that leads us home after absense.
The next three pieces Francisca’s Dream, Francisco’s Jr Theme, Sara is Happy are dedicated, respectively to his daughter, his son and his wife. A little girl with a Ballon, in a carrousel, a young boy slaying a dragon, and a wife, mother, woman litting a room with her happiness. The piano translates the stories magnificently. Or the vignettes are magnificently played, in a reverie, with intensity, upbeatness sorrow, glow.
Francisco Sassetti’s performance ends with the wonderful, slightly somber, but rich is tone and soul, Music For Her.
Wim Mertens, , accompanied by trumpeter Ward Hoornaert, presented Voice Of The Living his album homage to all war victims. Voice Of The Living was commissioned by the Chancellary of the Belgium prime minister as part of the commemoration og the Great War (Work War I, 1914-1918).
It is an harrowing musical piece. Playing in November, with all that is going on, two days after Armistice Day (November 11,1918), the day of the end of war it was created to signal, it is sobering, chilling, beautiful, uncomfortable.
Mertens way of playing, more minimal leaning, heighlights the theme of the composition. The Piano runs free, is sound pointllism, while the trumpet holds it filling the atmosphere with a certain joy, at times, verging on exuberant happyness, but never fully crossing into glaring bright light.
In Mertens Voice Of The Living we feel the sense of loss, of desorientation, the discomfort, the wasteland. There are also glimpses of hope, of a better time among uncertainty.
Libreto:
Francisco Sassetti:01 – Nocturne I; 02 – Nocturne II; 03 – Home; 04 – Goodbye; 05 – Filipa’s Dream; 06 – Francisco Jr.’s Theme; 07 – Sara Is Happy; 08 – Inocência II; 09 – Music for Her
Wim Mertens: 01 – Too good, too loose; 02 – Glossary raisonné; 03 – Escape and recapture; 04 – Pondichéry; 05 – On the Zephyrous Peak; 06 – Continuous pushforwards; 07 – Nota notae; 08 – Watch!; 09 – Phaedra; 10 – Constance; 11 – Prudence; 12 – Far; 13 – Struggle for Pleasure; 14 – Close Cover
words: Marcos Leal (edited and freely translated by Raquel Pinheiro); photos:Marcos Leal
Musician, composer, producer, visual artist are several of the sides multi-instrumentalist John David Padgett, aka Johnny Jewel, Other than his career as a musician in Glass Candy and Chromatics, and owner of record label Italians Do It Better, Jewel gained recognition through producing film soundtracks.
Jewel steps on stage and starts uncovering the black clothing that cover the keyboards and synthsisers with which he will play. Drive and Bronson are two of his best known cinema pieces. It is precisely cinema that fuels his solo debut European tour. As Jewel himself would say towards the end of the concert, an experimental trial tour to see how the audience perceives it.
Jewel shows his aesthetic attention by presenting himself in a classic red suit, face painted as shades of characters of films like A Clockwork Orange, that, commanding the synthsisers creates with total harmony and synchrony along the screened film images. Retro aesthetics, violence, sex, mystery, are marked characteristics of the cinema with which Jewel so well creates the atmosphere that leaves viewers immerse in the sound and image experience. The performance developed in a crescendo of intensity, interrupted by a false ending. When returning, Jewel took the opportunity to address the audience and play two more tracks, the last one the remarkable theme of project Desire – Under your Spell from the film Drive soundtrack. That is how the performance ends. With Johnny Jewel wrapping back the instruments in black clothing.
words: Marcos Leal (edited and freely translated by Raquel Pinheiro); photos: Marcos Leal
Devendra Banhart presented Flying Wig, his new album, at Theatro Circo in Braga. He was preceed by H. Hawkline, his guitarist. Hawkline warmed the ears and a few arms with his bass tender voice, seated on the middle of the stage gently accompanied by his guitar.
An unexpected, but very pleasant and well received performance, bringing humour to the audience with his relaxed communication.
Good disposition and at easiness were also present at Devendra Banhart’s performance. Known by his stage eccentricity, here he presented himself in a simple, relaxed manner, a little bit a reflex of Flying Wig’s music, calmer and meditative.
Live, his, on this album, more ethereal freak-folk,, seemed to hug and cradle. Dispute singing about life’s issue, he does it in a way that breathes calm and levitates the soul.
Between songs, Devendra walked around the stage, murmuring away from the microphone, toying with the audience that tried to understand when someone told him to speak louder. Maybe that was the purpose. Devendra toyed a number of times in his quiet manner, always in a sweet tone, at times with an “obrigado” that he found long, often shortened to “obri”or” gado. Or when he presented his backing band. Especially with Welshman H Hawkline, músico galês, going on a comic translation of what the guitarist was saying in Welsh.
Devendra is, probably, one of the coolest musicians I’ve had the pleasure of seen live. Given one of his best known songs was missing, the concert could not finish without the traditional encore. Carmensita was farewell from Devendra & Co. with thank and waves you to the audience while heading backstage.
Mondo Bizarre Magazine 