My radio show Amazing Songs & Other Delights #97 – The Of Sea & Cake edition is broadcasted Monday 1 and 8 June, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com to (or on the app).
For some reason I had the programme title for a while. Probably, because of Sea and Cake, the band that opens and closes the show. Since I recently went ocean swim again and I like cake, it was a perfect match. Ideas and life catching and matching up.
The songs and instrumentals aren’t necessarily about cake, sweets, or the ocean, although enough are. Like Savoy Truffle written by George Harrison for The Beatles’ White Album is literally about chocolates, and was written for Eric Clapton and his love of said sweets. For The Of Sea & Cake edition I picked the live version Dhani Harrison singings his father’s song.
The Beach Boys’ Catch A Wave is another literal song, this time about the ocean and catching a wave to surf.
Tracklist: 01: The Sea and Cake – Four Corners 02: Dhani Harrison (Live at George Fest) – Savoy Truffle 03: Air – La Femme d’Argent 04: Queens Of The Stone Age – Monsters In The Parasol 05: The Beach Boys – Catch A Wave (Stereo/Remastered 2001) 06: Deerhoof – Milk Man 07: Cake – Distance 08: Stereolab – Lo Boob Oscillator 09: Brian Eno – By This River (2004 Digital Remaster) 10: Lupe Fiasco – Cake 11: Can – Vitamin C 12: Everything But The Girl – Temperamental 13: The Sea and Cake – Parasol
At the appointed hour, Pomadinha, a quartet from Vila Nova de Gaia, took to the stage at Mouco, all dressed only in boxers. For half an hour, they warmed up the audience with their energetic, predominantly instrumental rock, with some humor mixed in. But nothing prepared us for what was to come.
At 9:30 pm, a new quartet took to the stage, all with slight clownish makeup on their eyes.
Harry Wilkinson, the muscular, shirtless vocalist, immediately established a connection with the crowd, greeting some people in the front row and asking for space in the sold-out venue, creating a brief tension.
Although the rhythm section wasn’t very audible in the initial songs, that didn’t stop the crowd from responding, and the mosh pit exploded to the sound of Bloodsport. With a vocal style between rap and punk, Harry criticizes the social pressures on individuals over a sound that is very much the band’s modus operandi: alternating between intense and serene moments, in a dynamic tension/release, and an original blend of musical genres.
Joe Carroll’s alto saxophone is almost ubiquitous, accompanying the register, sometimes aggressive, sometimes contemplative, where jazz and rock meet. Trenches infuses hip hop into the structure, with the hypnotic saxophone mantra accompanying the incitement to war against bad traditions.
Break The Tension expresses the frustration of modern times over the relentless rhythmic pace of Matt Buonaccorsi and Jacob Hayes, which doesn’t allow the tension to break. Harry briefly descends into the audience and, upon returning, abandons his score of rapper gestures for a hypnotic undulation of his arms above his head.
The debut album, Pain To Power, released last year, is the main attraction, whose live versions are more extensive and turbocharged, but there was also room for older songs, such as Zeitgeist, where a post-punk pulse intertwines with words against large corporations, punctuated by some guitar distortion and saxophone oscillations. The guitar comes in with more force in Thunder, where the discourse intensifies in a crescendo, softens in the middle section and resumes the crescendo.
The beautiful and lengthy Born To Die, in which Harry’s initial spoken word gives way to a virtuoso and powerful vocal performance has various movements, where free jazz swirls noise rock, where vocals and saxophone get lost in arabesques, where a guitar solo is soaked, and where, in a moment of near silence, Joe shouts in the middle of the corridor created in the crowd, purging his and others’ demons through shouts, before climbing back to the stage and resuming the final stretch of the song, returning to the crowd in crowd surf mode.
This is followed by the equally beautiful Saoirse, a hymn to individuality in 3/4, in which the band closes in around the drums and expands physically and musically. Mental health and the need for connection were highlighted before The Invisible Man, and we were invited to hug the person closest to us.
In this song, melancholic beauty alternates with fury and incitement, the saxophone sounds urgent, ritualistic gestures hand in hand with chants, the syncopated rhythms and breaks of the drums create organized chaos, and the deep bass stirs the guts and agitates the bodies. The intense Look Down on Us is followed by Harry’s request to “raise your fists in solidarity and love,” something we gladly did for long seconds.
They ended the concert with the instrumental Resisting Resistance, a post-rock song with the landform of a hill to rest the ears but not the consciences. The people of Palestine (with a flag displayed on stage), Lebanon, Yemen, Ukraine, Sudan, and other conflict zones were not forgotten.
Harry highlighted at the end that this concert is a unique human experience of connection, and this communion was very palpable. Spontaneous hugs at the end between the band members reinforce this truth.
No matter how many words I put here, nothing would compare to the intensity of emotions in harmony during those couple of hours, nor to everything I witnessed. If you can, don’t miss the next opportunity to see Maruja.
words: António Carvalho (edited by Raquel Pinheiro) photos: Ricardo Silva
Upon arriving at RCA – Radioclube Agramonte concert hall, I spotted a low table in the center of the room, with a paraphernalia of interconnected devices under a dim light. A real challenge for Ricardo Silva, our photographer.
The spectators were seated or lying on mats, rugs, and cushions. It seemed an invitation to immersion and contemplation. Concepción was kneeling in front of this table. Although she is a multidisciplinary artist, this concert focused on the sound she created using the chosen devices, which included a cassette player and two walkmen.
She delicately manipulated buttons and potentiometers, inserting and removing cassettes, completely focused on producing sounds, loops, and drones resulting from the manipulation of the recordings on these tapes. Sometimes the sources were identifiable, but that didn’t seem to be the goal.
The transitions were smooth but clearly defined. This exploration of the sound spectrum, more concentrated in the mid-frequencies, but with occasional strong bass and atmospheric treble, rarely presented obvious rhythmic patterns, as drones and sonic brush strokes dominated.
This entire sequence of ambient themes took the audience on a wordless sonic journey, which induced alternating sensations in me, such as harmony and connection, agitation and strangeness. I am convinced that this was the purpose.
Concepcion clarified at the end that this presentation was based on her latest album, El Sol de los Muertos.
Gustav Klimt – Portrait of Adele Bloch Bauer I, 1903-1907
Field Notes – Porto, The Mountains, and Human Crossings my new post on The Polymath site https://www.thepolymathisme.com/ is a lived note on Porto, exhibitions, transport hubs, mountains, symbolic conversations, creativity, and the unexpected human crossings that open new possibilities, and of how, often, the path appears afterwards. It can be read here.
My radio show Amazing Songs & Other Delights #95 – edition was broadcasted Monday 20th and 27th April, 2026, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com and is now available on mixcloud.
Amazing Songs & Other Delights #95 – The Of Light & Gentleness edition is, as the title says, a programme that mostly revolves around light in different ways, and gentleness. You can read more about the show here.
Tracklist:
01: José Gonzalez – The Light
02: The New Pornographers – Pure Sticker Shock too
03: Francisco Fontes – Copiloto
04: Laurie Shaw – Chimney Breast
05: Kevin Morby – Badlands
06: Stone Dead – Plasticine
07: Bruce Springsteen – Rainy Night In Soho
08: Tinariwen – Imidiwan Takyadam feat. José Gonzalez
09: Butler-Black-Grant – Not Alone
10: The Lemon Twigs – I Just Can’t Get Over Losing You
11: Michael Weston King – Nothing Can Hurt Me Anymore
12: Red Sun Atacama – Sundown
13: Hanemoon – We Didn’t Know
14: Baby Suicida – Se Me Deixares, Eu Digo
15: The Dharma Chain – Clockwork
16: Special Friend – Isolation
All previous shows on mixcloud:
Tracklist: 01: José Gonzalez – The Light 02: The New Pornographers – Pure Sticker Shock too 03: Francisco Fontes – Copiloto 04: Laurie Shaw – Chimney Breast 05: Kevin Morby – Badlands 06: Stone Dead – Plasticine 07: Bruce Springsteen – Rainy Night In Soho 08: Tinariwen – Imidiwan Takyadam feat. José Gonzalez 09: Butler-Black-Grant – Not Alone 10: The Lemon Twigs – I Just Can’t Get Over Losing You 11: Michael Weston King – Nothing Can Hurt Me Anymore 12: Red Sun Atacama – Sundown 13: Hanemoon – We Didn’t Know 14: Baby Suicida – Se Me Deixares, Eu Digo 15: The Dharma Chain – Clockwork 16: Special Friend – Isolation
words: António Carvalho (edited by Raquel Pinheiro) photos: António Carvalho
Attending a concert by Canadian singer-songwriter Sean Nicholas Savage is like discovering a hidden gem. The modest stage of Lovers & Lollypops seemed too small for everything he delivered in just over an hour.
His exuberant presence, his larger-than-life poetry, his attention towards the audience, his virtuoso and expressive voice are just parts of a larger whole that is difficult to describe. His electronic pop, heavily indebted to the eighties, reveals itself as confessional, honest and with a dose of apparent naivety, where joy and melancholy, loss and gain, mystery and revelation, pleasure and pain coexist, sometimes within the same song.
Whether in ballads or upbeat music, the classic themes of love – the euphoria of passion, the discovery of the other, the broken hearts – are dominant and served in catchy and well-crafted melodies, like many of the pop classics. Sean’s excellent technical mastery of his voice, including a delightful falsetto, doesn’t take away any of the moment’s authenticity, as if he were pouring his heart out and offering it to the audience.It was almost impossible to take your eyes off this magnetic, barefoot figure.
Besides the privileged ones in the audience, Clara Phends on synthesizers and Max-Elie Laroche on electronic drums joined him in this brief, intimate journey. Sean covered a representative sample of his prolific discography, with some emphasis on his latest album The Knowing, a record he is very proud of, so he told me after the concert.
He even granted a request from the audience, performing half of Chin Chin, and finished with one of his favourites, the single It’s Happening. Thank you, beautiful freak!
There’s a photo gallery of the concert on our Instagram
We have been attending Wave-Gotik-Treffen, in Leipzig, since 2019 – minus the pandemic years – and 2026 is no exception.
As usual, Wave-Gotik-Treffen will be captured through the lens of Gustavo Hochman this year supported by image editor Milena Katzman.
Wave-Gotik-Treffen is the world’s largest gothic festival. It also includes Punk, Rivethead, Romanticism, Steampunk, Victoriana and other alternative and subcultures.
My radio show Amazing Songs & Other Delights #96 – The We’re Still In Spring edition is broadcasted Monday 18th and 25th May, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com to (or on the app).
There’s seventeen songs of different genres and time periods. By new bands and longs established ones. Some of the songs aren’t an obvious Spring choice, but they make sense to me in springtime.
The programme goes from a Spring song for children, The Kiboomers – Ladybugs Fly, to fado with Rita Braga’s tropical interpretation of Amália Rodrigues and Don Byas’ Rua do Capelão.
There’s space for indie songs, Again and Again and Again by Silly Boy Blue, Sun It Rises by Fleet Floxes, Stranger Baby by Gifthorse or Whole Again by Saint Sappho. Along Schubert’s Frühlingsglaube sung by Dietrich Fischer-Dieskau, and Test Department with the South Wales Striking Miners Choir singing Take Me Home.
The heavy weights contingent includes Taylor Swift, The Beatles, The Avett Brothers, and The Kinks.
And that’s not all.
Tracklist: 01: The Kiboomers – Ladybugs Fly 02: Taylor Swift – invisible string 03: The Kind Hills – Dance, Dance, Dance 04: Silly Boy Blue – Again and Again and Again 05: Saint Etienne – Who Do You Think You Are 06: Belle & Sebastian – Seeing Other People 07: The Beach Boys – Spring Vacation 08: Fleet Floxes – Sun It Rises 09: Dietrich Fischer-Dieskau sings Schubert’s Frühlingsglaube, D. 686 10: Gifthorse – Stranger Baby 11: The Beatles – Octopus Garden (Remastered 2009) 12: Dean & Britta – Eyes In My Smoke 13: The Avett Brothers – A Fathers First Spring 14: Saint Sappho – Whole Again 15: Test Department with the South Wales Striking Miners Choir – Take Me Home 16: The Kinks – Sunny Afternoon 17: Rita Braga – Rua do Capelão
words: Paulo Carmona (freely translated by Raquel Pinheiro) photos: Vítor Neves
Novos Românticos
A punch to the gut of the patriots. That’s what it is.
Any self-respecting lusitano, with a clear sense of their country’s history, recent or otherwise, will feel the almost unbearable weight of the stark, unvarnished reality served up by Novos Românticos. The silver platter is the sound, let that be clear.
This isn’t just music, it isn’t just musical aesthetics. It’s intervention, it’s agony, it’s the near-psychotic despair of someone who feels the weight of Portugalidade. Someone disillusioned with an Abril that seems ever more distant, with fewer and fewer reasons for pride.
David Félix is the man on duty, presenting himself to the audience as a kind of modern-day guru, fully prepared to press on the wound until it bleeds.
He carries an intrinsic ability to command attention: monochord vocal delivery, the sinuous movement of his body to the measured pulse of an electronic post-punk, hypnotic, corrosive, built on pre-recorded loops of guitar, drums, bass, keyboards, and samplers. He drifts across the stage, almost unsteady, faintly lascivious, but the message lands. That seems to be what drives them, and they achieve it with precision.
They performed material from across their repertoire, with a strong focus on their full-length work, Criptopátria. Worth highlighting are Pátria, Mesa Posta, and a very original version of the iconic Joy Division’s Love Will Tear Us Apart.
Bastonada @ Mondo Bizarre Magazine/Vítor Neves
Bastonada
Bastonada closed the night, delivering verbal and musical blows with their interventionist Electro Punk, edged with rap. It’s pure energy from beginning to end, without a moment’s respite.
They’re young, intense, sharp, and they fire off their songs as if the world were ending tomorrow.
The instruments are always front and centre, and their masked vocalist is a force of nature.
The insolent anger of their youth, combined with the level of competence in their instrumentation, points to a project with real substance and a great deal still to give. It will be interesting to watch.
Concert clips and photo galleries on our Instagram
words: Telma Mota (freely translated by Raquel Pinheiro) photos: Telma Mota
On 16 April, it was a ‘Happy Day’ at the Teatro Aveirense, with the funeral march of PAUS.
Having announced their end, the band made their fourth appearance of the year in Aveiro with impact and a certain sense of occasion.
They presented their final album in full, in an uninterrupted 30-minute crescendo. As they have accustomed us, this work entitled Enterro is marked by intense, hypnotic and innovative pieces that combine old-school experimental rock sounds, with complex and repetitive rhythms, with touches of indie vocal lines and the psychedelic textures of post-rock.
However, at this stage, arguably more refined and mature, they decided to stop and die in a florid and controlled manner, celebrating their own funeral with a tour that will symbolically end on 19 November 2026, the date on which they began their journey 18 years ago.
In a relaxed register, they made a few pauses at the beginning and end of the concert, between better-known older songs, in some way justifying that it is far more interesting to die and bury PAUS with dignity than to pass away in a disordered manner.
Happily for me, as I prefer the band’s earlier phase, more visceral, raw and unrestrained, PAUS opened this concert with Mudo e Surdo and closed with Pelo Pulso, both from their first EP É uma Água
They said goodbye in style, with the intense rhythm of the Siamese drum set played by Quim Albergaria and Hélio Morais, and the striking sounds of Makoto’s bass and Fábio Jevelim’s keyboard. I stood there, clenched my teeth and tapped my foot, wishing only to be somewhere more suited to dancing and exorcising my demons. It is not often one is invited by the dead to their own funeral, but for those present it was certainly a smiling experience.
Mondo Bizarre Magazine 