Author: Diogo

November: Floresta Oblíqua's new album release at Os Franceses with ZZY opening

Diogo

While still navigating through these uncertain times, we're back to our concert programming, this time to present the new release by FLORESTA OBLÍQUA, the Lisbon-based entity who has, for the past two years, affirmed itself as another great representative of the ever-richer world of modular electronic experimentation in our country. 

This release will take place Saturday, the 7th of November, in a matinée at the lovely dance hall of the SDUB "Os Franceses", with Barreiro's own ZZY (who has released two great albums over the past 12 months - "Plastic Jazz" and "Disorder") opening the afternoon.

Attendance is limited to 40 people, with the usual social distancing and higiene rules in place and with mask usage being mandatory. Tickets can be purchased for 5€ (general audience) or 2.5€ (under-25) at BOL (https://outra.bol.pt/) and their partner stores (Fnac, Worten, CTT).

There's no OUT.FEST this year

Diogo
It comes as no surprise, but we need to say it: there will be no OUT.FEST this year. We thought long and hard on how to make sense of a festival in the most unpredictable year we've traversed so far – but even though we witnessed and admired some good examples and possibilities of format reinvention all over the world, we've concluded that it would be impossible to maintain the ever more open, participatory and inclusive character we've been pursuing, that which is unique to OUT.FEST.
Immersing ourselves in the city, wandering, meeting and sharing – all of these need physical proximity to happen. We're therefore already in full OUT.FEST 2021 mode, ready to navigate through guaranteed uncertainty but also firmly dreaming that we'll be able to resume the journey on a port more familiar to the one where we've met last time. See you there!
photo: Davy Kehoe by Vera Marmelo @ OUT.FEST 2019

Joana da Conceição's "Aerossol", this Saturday at PADA Studios

Diogo

After ending the Paz & Amizade cycle in style, we're back in action this Saturday with the opening of the 'Aerossol' exhibition by plastic and multimedia artist Joana da Conceição (known to us as a musician, part of Tropa Macaca and more recently as one of the minds behind the "Toda Matéria" concert at OUT.FEST 2018).

« 'Aerossol' began from the song with the same name by Tropa Macaca (one of the longest running and most celebrated duos in Portuguese experimental music), a previously unreleased piece which is part of this exhibit. Like a hand casting forth the whelks, or a ghost travelling meters ahead of its own shape, the music lit the way for Joana da Conceição in preparing this exhibit, which brings together her work over the past three years. These are paintings with variable heights and widths, presented in a large composition with intellectually sensualist proportions and volumes, physically free, inspired by transience, erosion and creation, and animated by the companionship and the encounters which living beings share amongst themselves and with other things. »

This exhibit is free and can be explored between 15:00 and 20:00 this Saturday, the 26th, after which it will remain at PADA until October the 17th, where it can be visited between 12:00 and 17:00.

Throughout the afternoon several spaces in the Baía do Tejo area will also be hosting their own initiatives, as part of the European Heritage days.

Concerts return to Barreiro

Diogo

For four saturdays between August 29th and September 19th, as part of the "Paz & Amizade" cycle, we will host concerts by Vaiapraia, Lula Pena, Rodrigo Amado com Ricardo Toscano, João Lencastre e Hernâni Faustino, as well as a brand new performance by local musician Fast Eddie Nelson (on September 19th) whom we've challenged to create a show around Pink Floyd, entitled "Between Barrett and the Moon" which, as the name suggests, will explore the expansive legacy of the British quartet focusing on their releases in the period between Syd Barrett's departure and the massive success of "Dark Side of the Moon".

Before that, on August 29th, Vaiapraia will open this concert cycle with their recent (and highly praised) new album "100% Carisma"; on September 5th the idiosyncratic singer-songwriter Lula Pena takes the stage, fresh off an Italian mini-tour; and on September 12th we'lll host a quartet which brings together several currents of jazz in the form of the union of the two most celebrated Portuguese saxophone players (Rodrigo Amado and Ricardo Toscano) with drummer João Lencastre and double bassist Hernâni Faustino.

These concerts will take place in the late afternoon (18:30) at the open air amphitheatre at the Paz e Amizade Park, a seldom used space inaugurated in 1983, whose name (which translates to Peace and Friendship Park) comes from the anti-nuclear proliferation events which occurred during the summer of that same year in Czechoslovakia.

Tickets (5€ or 2,5€ for under 25-year-olds) are already on sale at outra.bol.pt and associated points of sale, and we strongly recommend that you purchase them in advance to comply with the Directorate-General for Health recommendations. For that same reason, hand sanitization and wearing a mask will be mandatory at the event, and the venue's capacity will be limited to ensure a safe distance between all attending. 

Live music will in fact return to Barreiro one day prior to this however, on August 28th, with a show by the recipients of one of the three OUT.RA creative grants for 2020:  “Nuvem de Pó” is the first of several public presentations of the work developed by ZIMA (Sara Zita Correia e Marta Ramos), two creatives whose background is rooted in dance and performance and who have been investing themselves in the research of sound as a complementary and non-academic method of self-descovery. This show will take place at SDUB “Os Franceses” at 21h30, with admittance being free of chage subject to the venue's capacity and a mandatory reservation made in advance by e-mailing info@outra.pt, and also to the Directorate-General of Health's guidelines.

EM REDE II, from June 28th to July 2nd

Diogo

The EM REDE festival is back for its second edition, once again helping to draw a musical portrait of present-day Barreiro.

After a first edition where 18 artists recorded solo performances in their homes, EM REDE II (with the current context of a controlled deconfinement in mind), focuses on, almost exclusively, performances by bands and collectives recorded at the iconic ADAO, with 10 shows broadcast over 5 days, from the 28th of June (Barreiro Day) and the 2nd of June, always at 21:30 at the Municipality’s YouTube channel.

The line-up presented during these five days, once again the fruit of a partnership between OUT.RA and the Municipality, goes even deeper into the aesthetic diversity of the music made in or connected to the city, bringing to the stage representatives of garage rock, heavy metal, hip hop, cotxi-pó and jazz, with figures as established as General D, Nídia and Pista and up and coming artists beyond the borders of the Municipality like Rafa G or New Mecanica.

Access to these shows is, as always, free, but we urge you to consider supporting the artists by purchasing their music and merchandise by following the available links to their online channels.

The schedules and daily line-ups are listed below.

 

Line-up

June 28th

21h30. B2R

22h00. The Brooms

Dia 29 de Junho

21h30. Monkey Cage

22h00. New Mecanica

Dia 30 de Junho

21h30. Scorpions

22h00. General D

Dia 1 de Julho
21h30. Pista

22h00. Otavinho

Dia 2 de Julho

21h30. Rafa G

22h00. Nídia

 

The artists

June 28th

B2R

A collective of rappers and producers from Barreiro formed this decade, based around Quint da Amoreira (in Alto do Seixalinho), active in crossing trap, drill and hints of afro-house with lyrics concerning their (our) reality. Along with the relevancy of their work, their videos bring forward new perspectives over some of the city’s distinct areas and daily lives. 

THE BROOMS

Born from the ‘ashes’ of The Sullens, one of the city’s garage rock institutions, The Brooms are a quintet which lives up to their eternal promise of energy, electricity, vertigo and hypnosis. Fuzz, Vox, Beat & Groove!

 

June 28th

 

MONKEY CAGE

Quartet on a journey through the imaginary railway connecting Black Sabbath to Pixies, with stops at the Kyuss and Queens of the Stone Age stations. They’ve released “Be Well” this year, the second album in their discography.

 

NEW MECANICA

With three albums released to the world during a career spanning over a decade (the last of which, “Vehement”, was released by the Italian label “Wormhole Death Records” and distributed in Europe, the USA and Japan), New Mecanica is an all-Barreiro quintet carrying the torch of cohesive, powerful and socially aware metal.

 

Dia 30 de Junho

 

SCORPIONS

Following their “Roice Cosmos” tape, the trio Scorpions presents two new pieces at EM REDE: “Tubolata” and “Santander”, born from a continuous evolution starting from improvisation to cosmic composition. 

 

GENERAL D

A pioneer of rap in Portugal, a citizen of the world (but also, on many occasions, of Barreiro’s urban area), General D brings us classics like 'Black Magik Woman' and 'África Nossa', as well as 'Zombie', which will be part of a new album to be released in 2021 which, in the artist’s words, “focuses on the ways in which social networks changed the relationship dynamics between populations”.

 

Dia 1 de Julho

 

PISTA

Tropical, cheerful and celebratory rock music bringing the summer heat to the remaining seasons, born from its members love of bicycles and music. After releasing their debut EP (“Pista”) and album (“Bamboleio”), they revisit their sound with a new album which promises to reach ever bigger heights: Ocreza.

 

OTAVINHO

Otavinho is part of a new generation of Afro-Portuguese people well connected to their roots, bringing new life to the stories and life experiences of their heritage. His music renews and carries on with tradition simultaneously - in this case, turning funaná into cotxi po, and radiates happiness even when lamenting sadness.

 

Dia 2 de Julho

 

RAFA G

From Vale da Amoreira to the world, Rafa G is one of the brightest new lights in truly urban music made in Portugal over the last two years. “Correria”, one of his first songs released on YouTube and already a classic on its own merits, has now over 4 million views and an enormous influence in the narrative of so many of the life experiences in peripheral neighborhoods throughout the country. He has just put out his first physical release, featuring appearances by artists like Deejay Telio, Minguito, Kappa Jotta and many others.

 

NÍDIA

A 23 year old producer who already is one of the great exporters of new Portuguese music, with press from all over the world (including the New York Times, for instance) gushing over her three (!) new releases in 2020. After her debut with the Príncipe label in 2015, she’s been travelling the world in performances and collaborations with people like Kelsey Lu, Lafawndah and Mica Live. She has since won a Grammi (the Swedish music industry’s equivalent to the Grammys) for producing a song by Swedish star Fever Ray.

 

Interview - Clothilde and HOBO

Diogo

Clothilde é o alter-ego musical de Sofia Mestre, colorista, fotógrafa, desenhadora e não só, que se encontrou enquanto música na viragem para os 40. Trabalha a partir da herança de pós-minimalistas, improvisadoras e compositoras de mente aberta, como Pauline Oliveros, Maryanne Amacher, Daphne Oram, Eliane Radigue ou Delia Derbyshire, para criar a partir de bases electrónicas modulares – tecnologia feita pelo seu companheiro Zé, aka HOBO -, novas paisagens e realidades emocionais e estéticas. Em Outubro de 2018, durante a edição do OUT.FEST desse ano, onde testemunhamos uma bela actuação da artista na Escola de Jazz do Barreiro, o Alexandre Ribeiro e o Vasco Completo tiveram a oportunidade de ter uma curta conversa com os dois – Clothilde e HOBO – sobre o sistema electrónico único que usam e as suas origens, bem como o despertar de Clothilde para a criação músical.

When did you start building this kind of machines?

HOBO: I started thinking about this some six, seven years ago. At the time I was building some machines in cardboard (I always used the materials I had close by to build things) and one of the times I went searching for materials I went to my father’s house, who did radio assembly in Guinea-Bissau during the colonial war, and he had a breadboard and some chips along with some other stuff that he told me to take. I put them in my bag and then it was stored in a drawer for about a year, until I stumbled upon something that reminded me that I had that stuff at home. Then I started building things, first an amplifier in a Scotch-Brite box, very basic stuff, and it grew from there. I started thinking, “Ok, I want to send the sound somewhere, so I need an amplifier.” That was step number one. Number two: we need some oscillators, let’s do it. From there it kept growing, I kept researching, seeing what had been done before and what I could do differently. Nowadays with the internet you can take giant steps with these things – before it was much more complicated, all the information was only in books, but now you make a quick search and you get the gist of what you need to do, and once you learn what’s already been done you take a step back, explore the chip’s technical specifications, and use that knowledge to create your own things. That’s what the process has mostly been like, self-taught and unpretentious, doing it because I enjoy it.

About the specific machines the “machinist” uses, can you take us through how they work?

CLOTHILDE: There’s several of them…

HOBO: We didn’t bring all of them with us…there’s around ten over there, plus some keyboards, and in total we probably have around 20…the idea is that each of these machines should be able to be used independently and make sound on its own, kind of like a modular system but not entirely, because in modular systems you have to carry everything with you, but here if I want to just take one machine I do that and output its signal directly through a jack, or I can use a banana jack to send its sound somewhere else. I wanted it to be very versatile, so that I could play with one, or two, or all of the machines….

C: It’s interesting that it’s only now that we can play together – before we didn’t have enough gear to play at the same time. That’s a big part of why I play by myself – he’s got a project with a friend where he also uses these machines and if we both played at the same time we’d limit each other, because in order to make certain sounds you need these boxes to be connected, for modulating, filtering, whatever. Now we can though, and the next step is also to start a project and play together.

How did your activity as a musician begin?

C: I’ve always been crazy about music, but I never had the desire to make music, it was proposed to me, because people knew I played with him, and so it happened. We have a house in Meco with friends, for resting, and he [HOBO] would take his machines and we’d play around with them, but I never harboured any ambition of playing in concert one day…

I’ve been friends with Sonja from Labareda, the label I released my album on, for many many years now and she knows me very well – better than myself apparently – and so she challenged me to make something and I was like “You’re crazy…me?”. It wasn’t something I ever even wanted to do before, but I ended up thinking that I couldn’t spend my whole life considering it so…

You’ve recently released your first LP, “Twitcher”…does your career have anything to do with music?

C: Nothing.

Can you tell us a little about that?

C: I’ve always been a fanatic about music, ever since I was little – to the point where I’d start crying if my mother put something on that I didn’t like. It’s true! But I never worked in music.

My grandfather was the drummer for a great jazz band in the twenties, my mother made a tremendous effort to push me towards studying music (she wanted to study it when she was younger but my grandfather wouldn’t let her because she was a girl), my uncle plays everything…so music was always there.

I worked in advertising and cinema for many years, I’ve been a colorist, I like drawing, photographing, now I’m setting up a project with a few friends and we’re still figuring out what’ll come out of that…But this…I made “Birdwatching”, which was what Sonja challenged me for, a compilation, and that’s when I told her “well…I’ll do my best, I promise I won’t let you down, even if it kills me…”, because I’m a little demanding with myself, a little too much so even. Then she started talking about an album, and that made me go “so it’s not just a song anymore, huh?” but I had already passed the first hurdle, I had my first concert at Damas…then I played the second at Lounge, the third at Walk&Talk in the Azores, then at ZDB, by then I was even saying “well damn, there’s only Maria Matos left” (laughs). I don’t know what happened, I wasn’t expecting it, but I know I have an ear for music, I know everything’s here. I don’t count the measures, I feel them, it’s a lifetime of listening to music with a lot of passion reflected here. I made the album (the release party was on May 25th) and strangely it came out well. I was very happy, I didn’t know what was going to come out…

How has it been received so far?

C: It’s been insane, I don’t have the time to be an artist… (laughs) Just last month I had three concerts, at Festival Exquisito on the 13th, at WOS in Santiago de Compostela on the 15th, then in Porto in Passos Manuel on the 22nd, in a night organized by Fungo where Zé [HOBO] played with Marco (o Citizen:Kane), because we couldn’t play together, plus Nuno Patrício and Nicolai, the Fungo DJs, we all played and now I’m here. And meanwhile I have several proposals to answer…even as far as 2020, and I get really nervous with those things, I don’t even know if I’ll be alive then (laughs). But it’s a super interesting project and I think it’s totally my thing, because it’s a theatre play.

Noite da Raposa IV – June 6th, 21h30, online

Diogo

It's the return of a night which has already established itself as one of the most eclectic in OUT.RA’s programming: Noite da Raposa, bringing together local, regional, and on this occasion international creators in electronic dance music, modular synthesis, contemporary composition and ambient music (and everything in between).

Originally planned for the beginning of May in ADAO, its "natural habitat", Noite da Raposa will instead be broadcast online in OUT.RA's youtube channel, retaining its line-up of CARINCUR, ONDNESS, PHILIPPE TROVÃO, RABU MAZDA and SPELLCASTER. You can find out more about these artists by clicking here.

Access to the transmission is free, but we accept (and are thankful for) any donations through paypal through the following link: www.paypal.me/OUTRABarreiro (fees paid to the artists do NOT depend on these donations).

Viegas - Interview

Diogo

Part of the impressive mina collective, participant in the Rabbit Hole parties and, for some time now, member of Rádio Quântica, Viegas is a Barreiro-born artist and DJ who was a part of OUT.FEST 2019's closing night at the A4 space. Before the festival we had the chance to speak with him about his artistic path and his activity in the collectives he is a part of in an interview you can read below.

How and when did you discover techno and electronic club music?

In 2014 I spent a few months outside Portugal, in Barcelona, and my way of getting to know the city and its people was by going out at night. Burial’s River Dealer had recently been released at the time and that ep was also a gateway to electronic music for me, especially for the musical scene in the UK, but to other things as well.

What kind of clubs and nights out did you usually go to, after that formative period? Usually here in Barreiro and in Lisbon I suppose?

In Barreiro my nights out were usually in the streets…but in Lisbon I’d go to Lux, as well as some Rabbit Hole parties and Príncipe nights.

Before we talk about your collective, I wanted to ask you about the Rabbit Hole nights, as they were parties which despite being associated with dance music were very eclectic, I even saw a friend of mine who plays drone music perform at one. Do you feel as if that mix of different music genres influenced your way of being a DJ?

In a way yes. At Rabbit Hole there was a place for all kinds of artistic expression, everything could be a part of one of those nights. That eclecticism in programming might have influenced me, yeah. Growing up in the suburbs also had a large impact in my way of looking at electronic music and in my interests. I grew up listening to Kuduro and Kizomba well before Techno or House or any other style…so lately my work has been in figuring out how to mix the many reference points I have into something appropriate for the moment when I’m playing.

Moving on to mina, how did it come to be and how did you join it?

Mina started after Rabbit Hole and Rádio Quântica (another project that I joined a little while after I started working with Rabbit Hole) joined forces. At the time Lisbon lacked an electronic music night that provided a space for people to experiment with their identity and sexuality…where rules were…implied and based more on mutual respect than those rules usually associated with more institutionalized spaces. Pedro Marum, one of Rabbit Hole’s founders who also joined Rádio Quântica around the same time I did, had the idea to start these mina nights with Violet and Photonz, the founders of Rádio Quântica, and since I was working with both projects I was invited to help out.

Speaking of Rádio Quântica, do you still have the “Mercúrio” radio show?

Well I’ve since changed the name to rave3000, and lately I haven’t done the show as often, but yeah.

How different are the playlists you make for radio shows and the ones you play on the dance floor? What are the differences and similarities, and what do you try to bring to one and the other?

Maybe I’ll start with the similarities: it all comes from the same place, I have similar criteria for both and I try to be inclusive and always focus it away from the centre. I don’t have as many concerns with the show, if the music is danceable or how it’ll be received, so I think it’s a much more experimental space with much less expectation from listeners. I always try to share the slot with other people as well, so it changes depending on whom I invite. On the radio, to me, the most important thing is to give other people a chance to access the platform, and I’m sure that if Rádio Quântica didn’t exist things would have been much harder for me.

You’ve played outside Portugal several times, in Berlin for instance…

Yeah…this last year I had the chance to play in several European capitals, like London, Paris, Athens…

Those are quite different cities, and known for their night life…how do you think Lisbon compares to those places? Is there anything unique about the city in that sense?

I feel more comfortable in Lisbon, so I am freer to experiment with some things. Usually I play in contexts where audiences are used to hearing all sorts of music and where that diversity is celebrated. Maybe this convergence is more normal because we don’t have as big a variety of nights dedicated to specific genres. In London, for instance, I felt the same, but in the UK there’s a very rich and diverse history of electronic music. I’m not sure if it’s unique, but since it’s a smaller city it’s easier to meet people from different scenes.

You studied documentary cinema, correct?

I started out studying Advertising and Marketing at the Escola Superior de Comunicação Social, but I quickly realized that wasn’t what I wanted to do, so I went on a one year Documentary Cinema course and studied Photography at Ar.Co and at the Fine Arts faculty.

I know you photograph the mina and Rabbit Hole nights. Do you feel that some of your education influenced your work? Not just as a photographer, but as a DJ as well?

I think it was the other way around, it was clubbing that ended up influencing my work in photography. My interest in photography arose from going on nights out because I felt the urge to create a record of what was happening. Now, I don’t know, in the future I’d love to explore the visual component of my shows more, so maybe it will change and photography will start influencing my way of DJing.

Coming back to Barreiro – You were born and grew up there, and according to one of your posts you would hear the festival from your bedroom. Can you tell me about your OUT.FEST experiences, starting from that moment in your bedroom?

I was living close to Ferroviários at the time, and the festival happened there several times. So I remember being younger and being unable to classify the kind of music I was listening to, and that was always interesting to me. When I started going it was very important for me to understand that there were other musical languages and possibilities…to see people with very creative approaches to their instruments and a patient and receptive audience. To discover ambient and drone legends who I would likely never cross paths with otherwise, all of this in incredible places that go unnoticed during the rest of the year. The kind of music I hear at home when I’m not preparing a set is very much influenced by what I hear at OUT.FEST.

Do you have a mix specifically prepared for OUT.FEST? What can we expect in one of the festival’s closing performances?

I’ll try to stay close to recent releases. I want it to represent what I’ve been listening to and playing in my latest sets somehow, prioritizing more experimental music that might not work as well in other contexts. I want to go to many places…but we’ll see what happens!

Interview by: Tiago Franco

Angélica Salvi – Entrevista

Diogo

Angélica Salvi is a Spanish harpist who’s been based in Porto for a few years and who has produced exploratory work with her instrument with a truly heterogeneous variety of musical and transdisciplinary collaborators, albeit essentially focused on improvisation work. In addition to teaching at the local Music Conservatory, she has performed as a soloist with the Porto Casa da Música Symphonic Orchestra and the celebrated Remix Ensemble.

In her collaborations with iconic musicians such as Han Bennink and Evan Parker, in her work on stage and in her records, her vocabulary is ever adapting, though always maintaining its identity, working the timbres and effects according to contexts and ideas.

We had the chance to speak with her before her performance at OUT.FEST 2019, and we invite you to read the result of that conversation below.

When and why did you move to Portugal? What made you head to Porto, specifically?

I was living in the Netherlands, where I was studying, and I received an e-mail from one of my teachers saying that they needed someone to teach the harp at the Porto Conservatory and asked me if I was available. I thought, why not? So, in September 2011 I moved to Porto, going to the Netherlands once a month to finish the Masters’ degree I had started there.

How long ago did you start playing the harp?

I play it since I was 11.

And what made you focus on this specific instrument?

It was a coincidence. At the time I had started studying the piano. I went through the tests to study at the conservatory and when I was accepted, I chose the piano as my first option and the harp as the second (because it was the closest instrument to the piano). There weren’t any openings for the piano class, so I started studying the harp. And I liked it, even though I didn’t know the instrument well at the time.

It’s your main instrument, but was there any time you decided to change instruments, or were captivated by another one?

I had a piano at home (my mother studied and played the piano) and there was a time when I played both the piano and the harp, and in my opinion both instruments have a lot in common. Even though I like other instruments besides these two a lot, I never decided to seriously focus on any of them.

When did your interest in improvisation begin? It’s not usually something that’s taught in schools, especially for the harp…was there any moment, or an idea, artist or concert which led you to this approach to music?

Well, I was always very interested in creative, artistic pursuits in general. I studied fine arts for three years, I love drawing and always liked making up new things. At school I had a very conservative education (though fortunately they changed it up a little later on) so I had to search and explore on my own. I was looking for some kind of freedom and the only alternative I found at the time (which went beyond written music) was Jazz. I had some jazz lessons, I met a harp teacher who taught jazz at the University of Arizona and I studied under her for a year and a half. Then I continued my studies in the Netherlands, at the Conservatory and the Dutch Impro Academy, where I met the ICP Orchestra musicians and the Brokken-Fabriek (in Amsterdam) and that’s when I discovered the world of free jazz. So, I’ve been active in improvisation for several years now.

I spoke with Peter Evans a few days ago and he told me he always finds it difficult to teach people the “right” way to play music, and that his way of teaching is not so much to show how you “should” do something, but rather to serve as a guide to new musical possibilities. Do you share some of his doubts about the best way to teach music and the harp in particular? How do you guide your students in their learning?

I always have many doubts…As teachers we’re always learning from our students. I also speak with many colleagues and my students often so we can try new methods and formulas. Some of my students are very young, so I have to find a balance between the creative and theoretical parts. On one hand they have to learn the theory (even if that may be a little repetitive and monotonous at times) in order to be able to reach a certain technical and positional level required to master the instrument. Sometimes it can get complicated because it requires a lot of patience and consistency. It’s kind of like a martial art.

Searching for that balance is the difficult part. It also depends on the specific person and their personality, so it’s important to adapt the classes to each student and understand what they like or what they feel more comfortable with.

But other than that yes, I agree with Peter Evans: a teacher should serve as a guide to new musical possibilities!

Do you have any new projects which you’d like to tell us about?

I have several ongoing projects, they’re all on my website: www.angelicasalvi.net.

You’ve collaborated with several Portuguese musicians, like Rafael Toral – do you feel as if there’s a way of seeing music – particularly improvised music – which is unique to Portugal? Of course everyone has their own personality, but do you think there’s something special about this community in Portugal and their approach to music?

You’ve collaborated with several Portuguese musicians, like Rafael Toral – do you feel as if there’s a way of seeing music – particularly improvised music – which is unique to Portugal? Of course everyone has their own personality, but do you think there’s something special about this community in Portugal and their approach to music?

I had a feeling (especially when I lived in the Netherlands) that lately there’s a tendency to specialize: in education, in arts…it’s as if an artist needs to have a very specific predefined style, even with certain rules, in order to fit in somewhere or being labelled as something (a lot of record labels pressure their artists with this kind of thing). But I think that’s the wrong path to follow because the end result becomes overly formatted, globalized and boring…that’s why I feel very happy in this country, I think artists preserve and protect their essence a lot and the really believe in what they do. That’s the experience I had with the circle of musicians that adopted me.

Interview by: Tiago Franco

 

EM REDE, an online festival coming up this weekend

Diogo

Check out the three days of EM REDE in the links below!

Day 1

Day 2

Day 3

EM REDE is an online festival which will present almost twenty concerts by local musicians over three days.

This festival will showcase the diversity and wealth of talent in Barreiro's music scene, with space for songs, jazz, hip-hop, electronic and experimental music, bringing up-and-coming and established artists together.

From their homes, these musicians accepted the invitation by OUT.RA and the Barreiro Municipality (the event's co-producers) to perform at a festival which sends a message to the city and the country that Music can't stop and that the Arts still are, today and always, an essential part of our lives.

Watching EM REDE is entirely free and shows will be broadcast on the 1st, 2nd and 3rd at the Barreiro Municipality Youtube channel. Below, you can find out about the schedules and line-ups for each day.

Join us, and please consider supporting the artists by purchasing their albums, music and merchandise by following the links listed in the festival page at our website.

LINE-UP

May 1st

Host: Ricardo Guerreiro
21h30. Tiago Sousa
22h00. Valu
22h30. Nicotine’s Orchestra
23h00. Minguito
23h30. Opus Pistorum
00h00. Van Ayres

May 2nd

Host: Joana Pimpista
21h30. Gil
22h00. Beatriz Nunes
22h30. Kyra
23h00. Nada Nada
23h30. San Fona
00h00. Berlau

May 3rd

Hosts: Joana Pimpista & Ricardo Guerreiro
16h30. George Silver
17h00. Catarina dos Santos
17h30. Fast Eddie Nelson
18h00. Jorge Moniz
18h30. Y Basics
19h00. My Noisy Twins

ARTISTS

TIAGO SOUSA

Pianist and composer, master of an unique and growing sonic language, he has published a handful of records in national and international labels and often performs live, playing his own compositions and pieces by composers like Debussy, Arvo Part or Federico Mompou.

Website // Bandcamp // Youtube // Instagram // Soundcloud

VALU

Author of songs evoking the lamentations and finger picking style of intervention singers, Valu was born in 77, the year of punk, and presents music with clear and cutting poetry which combines that spirit with that of 74.

Facebook

NICOTINE’S ORCHESTRA

One of the many pseudonyms of Carlos Ramos (also known as SUAVE, and a member of ACT-UPS, LOS SANTEROS, BRO-X and one of the founders of the HEY PACHUCO! association)

Website // Facebook // Instagram

MINGUITO

Barreiro rapper and one of the pioneers of DRILL music in Portugal. A rising star in Portuguese music, with songs mixing Portuguese with English and Creole.

Youtube // Soundcloud // Instagram

OPUS PISTORUM

Opus Pistorum is Helder Menor, one of the most active young artists of this generation of Barreiro musicians, both on his own and as part of the Linha Amarela collective. 

Bandcamp // Soundcloud // Facebook

VAN AYRES

Lisbon-born active living in Barreiro for a couple of years now, he combines sound with visual arts and performance art.

Bandcamp // Youtube // Facebook

GIL

Stage name of Guilherme Firmino, singer and songwriter for the band "Humana Taranja", here performing solo for the first time with acoustic versions of his band's songs.

Bandcamp // Facebook // Instagram

BEATRIZ NUNES

One of the best known musical figures in Barreiro, Beatriz teaches at "our" Jazz School and, along with several projects with the Portuguese jazz community, she is the current singer for Madredeus.

Website // Facebook // Youtube

KYRA

Independent artist expressing himself through hip-hop, rap and rock. In 4 years he released three works: "Apollo 13, Tenebris and Lost Files"

Youtube // Spotify // Instagram

NADA NADA

The solo project of Cláudio Fernandes from the illustrious PISTA, here showing off his synthesizers and taste for dancing, the heat and the beach.

Bandcamp // Facebook

SAN FONA

An almost secret project by Bruno Catarino, a discreet and talented bassist active in the Barreiro scene for over 20 years.

Bandcamp

BERLAU

Fernando Ramalho's alter ego used for his guitar experiments, with plenty of space for silence and sound dialogues with some of his favourite poets, with works inspired by Maria Gabriela Llansol, Inês Lourenço and Ana Hatherly.

Bandcamp // Facebook // Soundcloud

GEORGE SILVER

George Silver is André Neves, a young Barreiro artist active in music production and event programming and one of the most active faces in ADAO.

Bandcamp // Facebook

CATARINA DOS SANTOS

Catarina is a talented artist who, after studying and working throughout the work, returned to Barreiro to teach at the Jazz School and develop her music, which combines influences from Portugal, Africa, Brazil and New York.

Soundcloud

FAST EDDIE NELSON

A Portuguese musician who couldn't be any more American - Fast Eddie Nelson is a guitarist, blues and rock'n'roll man with many km on the road, and a frequent presence in festivals throughout Europe.

Bandcamp // Facebook // Youtube

JORGE MONIZ

Another of Barreiro's best known musicians, Jorge is a drummer, musician, and jazz teacher, and increasingly a very interesting composer for theatre, cinema and dance. 

He brings us a piece he has been working on for the past few months and which we will hear for the first time.

Website // Youtube

Y BASICS

Y Basics is José Bica, an artist born and raised in Barreiro who has developed work in sound art, field recordings and sound effects for the cinema, as well as academic investigations related to music. Here he will present a piece reflecting his growing interest in contemporary classical composition.

Bandcamp

MY NOISY TWINS

Jorge Machado is a composer, producer, percussionist and sound artist composing for theatre, dance, video-art, etc. He plays as a percussionist with several national groups and producers. After moving to Barreiro, 5 years ago, he became a parent to two noisy twins who name his solo project, which has just released an album.

Bandcamp

 

AN OUT.RA AND CMB CO-PRODUCTION

Föllakzoid / Green Milk From the Planet Orange tours canceled

Diogo

Inevitably, both FÖLLAKZOID and Green Milk From The Planet Orange have been forced to cancel their European tours and thus their dates in Barreiro.

If you purchased a ticket to one of these shows you may ask for reimbursement through BOL. However, OUT.RA would like to suggest that you consider forgoing that refund and thus contribute to mitigate the impact of the many expenses we had to incur in promoting these and other cancelled shows.

We would like to thank everyone for their support in these trying times for all of us, particularly those working in the cultural field who live in complete uncertainty over their situation during the coming months.

Stay safe and stay home.

HERÓIS INDIANOS ROMANOS AFRICANOS to be presented behind closed doors and broadcast online

Diogo

After deliberating with Associação NÓS over the current situation in regards to the prevention and mitigation of the impact and propagation of the COVID-19 virus, and taking in account the World Health Organization's recommendations, as well as the directives published by the Direcção Geral de Saúde and the decisions made by the local and national authorities regarding the use of and presence in public spaces, we're sad to inform you that the show scheduled for this Saturday (HERÓIS INDIANOS ROMANOS AFRICANOS - Alan Courtis with WE2 and guests André Neves & Bernardo Álvares) will not take place as previously announced.

The work developed by these musicians over the last week won't go unpresented, however, as we'll be be holding this concert behind closed doors and broadcast it over the internet to all interested at the date and time originally scheduled for the show (Saturday, March 14th at 17:00). We'll post the link for this stream on the day of at OUT.RA's Facebook page, so be sure to like and follow the page and stay tuned.