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viewing 1 To 8 of 8 items
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FAVELA 064LP
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Dies Lexic is a duo by Inês Tartaruga Água and Xavier Paes. Part of Favela Discos collective and label, they explore the channeling potentialities of sound, wandering between spectrums, ethereal soundscapes, and zones of sonic subduction through means of DIY electro-acoustic instruments, amplified objects, electronics, and composition processes based on repetition, language, chaosmosis, and error. Lexicon Hall, the long overdue debut album by the Portuguese duo of intrepid sound explorers, is a sort of digital ayahuasca, an intense psychedelic journey guided by drums and harshly bowed strings, channeling voices from other planes and fusing them with Dies Lexic's very own distinctive voice. If you close your eyes hard enough you can probably see Tony Conrad waving hello in the middle of a dark jungle that is inhabited by tribes of our ancestors. Includes printed inner sleeve.
Inês Tartaruga Água is a multidisciplinary artist, focused on the issues of deep ecology and radical regeneration, sound explorer and practitioner of DIY philosophy as well as collaborative and participatory practices in public space. Participates in collective exhibitions since 2013, highlighting the "XIII International Biennial of Artistic Ceramics" (Aveiro, 2017), "Убежище / Suoja / Shelter Festival - Laboratory" (Helsinki, 2019), "48 часов Новосибирск" (Siberia, 2019), or "Soundscapes" (Bahrain, 2019), and has her first individual artistic residency "Méhtēr: Matter, Form and Transformation" at Júlio Dinis Museum in Ovar (2018). Recently, Água has debuted sound pieces in Casa de Serralves (Porto, 2021) and in Casa das Conchas (Spain, 2021).
Xavier Paes is a transdisciplinary artist based in Porto. He divides his practice between visual arts, sound, performance, gleaning improvisation and multi-instrumentalism, focusing on ideas such as acoustic phenomena, repetition, resonant and sympathetic bodies, echo and ecology. He has presented his work at institutions, galleries, festivals, kiosks, raves, and after-parties, highlighting places such as Serralves Museum, Oliva Arts Center, Porto Municipal Gallery, Stichting Centrum (The Hague), OCCII and Vondelbunker (Amsterdam), La Pointe Lafayette and L'international (Paris), STUK (Louven), Overtoon (Brussels), and Villa Arson (Nice).
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FD 063LP
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Bezbog is a duo formed in 2013 by David Machado and Dora Vieira. Since their first release in 2014, the self-titled Bezbog EP, they have been exploring both acoustic and electronic instruments to create music that lives somewhere in between genres, styles, doctrines, and musical cultures. Alongside many underground venues throughout Portugal and Spain, they have shown their work in festivals such as No Noise, Milhões de Festa, Out.Fest, and TESLA at the Castile, and León Museum of Contemporary Art, and other places such as the Serralves Museum in Porto and MK Gallery in the UK. Their latest long player takes its name from the solar deity of the Slavic pantheon, Dazhbog -- the god that gives, and its idea flows into the concept of this record, through the themes of life, light and darkness, birth and rebirth, and the idea of the omnipresent cycle. You can find cycles in nature, music, and life itself can be thought of as a cycle, from the micro to the macro scale. As they seek to embed their music with these ideas, in a way, their music becomes new sacred music, the music of modern pagan rituals. While Bezbog's music seeks to replicate the meaning of what that music was, an escape from the profane and a connection to the sacred plane, in form it reconstructs it in light of the duo's influences, from the obvious Portuguese and pagan folklore, chamber and sacred music, to the darkness of doom and heavy metal, the structured improvisations of North American jazz, and psycho-acoustic hallucinations and the hash transients of electronic music. Dazhbog, while a passenger of the same train of thought as their previous studio work, comes in a different direction from it. Chernobog consists of two short and heavy tracks, painstakingly crafted during several months, while their latest studio effort is a long suite of eight tracks, composed and recorded live throughout 2020, that form a light and bright record where the duo embedded most of their influences.
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FD 062LP
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Batsaykhan is the rebirth of the first project to ever release on Favela Discos, only a few hours after the label's blogspot was put online back in 2013. Formerly known as Batsaykhantuul, Batsaykhan is not only one of Nuno Oliveira's alter-egos but also something between a science fiction character and an ancestral spirit doomed to wander the earth in an apparently human physical manifestation. The first album, Maestro Ir Noras, is a small and simple collection of tracks featuring only guitars and other stringed instruments, the second, being even smaller (only a single track) already seemed to lead us on through the psychedelic desert that would define the sound of the project. After a long hiatus, Batsaykhan finally emerged from the drawer, or maybe it was from the desert, only to reveal that he had shape-shifted, now taking the form of a trio. With the help of André Azevedo and Tito Silva, Nuno started working on old demos of unpublished compositions and adapting them to the new formation. The trio started the process of refining the songs and the sound of the record, using only a strict selection of synths, percussions, bass, and guitar. They ended up settling down on a terrain of moving sands for those who feel the need to define their sound, between a forest of psychedelia, a river of ambient and the obvious desert that has buried the guitars under its "western" sand. Batsaykhan's self-titled release, and the project's first long play will finally unveil itself with design and artwork by Rita Laranja.
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FAVELA 052LP
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In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. In Trux We Pux 02 contains the first of Favela Discos' collective pieces to be published, and it was chosen to represent a long series of site-specific pieces developed by the collective since its formation. Most of the time these pieces remain lost in time or in the label's archives. Desilusão Óptica is an audiovisual piece developed for the festival Serralves em Festa 2017 and was recorded between the concert and rehearsals. The piece is influenced by the book Musicophilia by Oliver Sacks, and tries to explore the notion of auditory hallucination, in this case based on the idea of a phantom sound unconnected to its object. Starting quietly with a single flute note, Desilusão Óptica slowly grows fuller but more uncomfortable as the pitch rises gradually in a hypnotic effect. The sound you hear is a mix of the sound produced live, its manipulation and repetition, thus the piece exists between the time when it happens, its immediate repetition and ghosts of past sounds. The flute, delayed and sampled, embodies both the sounds it produces and memories of past sounds, creating a confusion between objecto and sound. The sound is produced by an object but is at the same time separated from it, like in Mulholland Drive when you watch a singer emotionally dedicated to a performance and whose voice keeps on singing even when her body collapses. Like in dub music, the musicians are divided into two groups: those who play, in this case divided by winds, percussion and electric guitars, and the dub master/sound manipulators who launch samples of previous recordings and manipulate the sound that is produced live, through loopers and delay pedals. Printed inner sleeve.
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FAVELA 053LP
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In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. Milteto is an informal orchestra born out of the Favela Discos collective somewhere in 2014. The idea, that had been around for a while, was materialized for a concert in one of the first events hosted by Favela, in the extinct Picadilly Pub in Porto, a small strip club turned underground venue. It was one of those wet pre-covid nights where the condensation dripped down the mirrored walls, in a loud endurance contest that resulted in a fainted audience member. For a very large number of reasons, it would be hard to define Milteto's whole "career" in an album: the band has always inhabited the live context, trying to create massive immersive sound experiences for both the listeners and the musicians, subconsciously seeking to achieve transcendence by volume. So, in reality this is a momentary reflection of an always mutating entity, instead of trying to define the several years of drastically different experiences in just 45 minutes, they took to the album as just another live presentation where they adapted to the idea of what a record could be as if they would adapt to a venue. Faced with the idea of creating an album that reflected the project's mutability, the band looked at the medium itself for inspiration, as the vinyl record has two sides, they thought that maybe it would be a good idea to reflect that on the music. So, the recording sessions were split into two days, with two different groups of guests. One side set to recreate a more physical manifestation of the band, the other a more mental side, the first teeming with percussion, the other with electronic devices and synthesizers. Printed inner sleeve.
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FAVELA 057CD
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The Hum is the debut opus of Sarnadas, a Portuguese transdisciplinary artist working sound, image, space and everything in between. The four hour-plus long album, set to be released in two parts, is a direct consequence of his work with the disruptive artistic collective Favela Discos. By suspending some protocols but, most importantly, by suspending time itself in a seamless never-ending loop of layered melodies, Sarnadas allows himself to focus on developing new possibilities with the manipulation of the context created, rather than relying on the false necessity of constant output. Over the 15 pieces of deeply moving, bright, but calming music, Sarnadas waives off rigid musical structures to loop, overdub, and erect layers of synth phrases which relate to each other in the enclosed environment of The Hum. The Porto-based musician prompts his search for melodic opulence in the seemingly still soundscape of organic repetitiveness, where the encounter plays as big of a role as controlled randomness and the mismatch of melodies, sounds and textures. Sarnadas's approach to music writing allows details to be generated, rather than forced into music, creating a state of conscious lethargy where dreaming plays an active role on the outcome of sound. Recorded live throughout two days, the two-part album is reflective of Sarnadas's need to suspend time and figure out a new pathos by allowing himself to work endlessly on the single output of choice: a three-oscillator homemade synth constructed by his long-time collaborator Inês Castanheira (Well). This simple instrument, paired with a mixer and pedalboard paraphernalia, freed him to work loops, textures, brightness and chance into a compelling design of organic and mutating spaces. Die-cut cover with two printed inner sleeves and sealed outer plastic sleeve.
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FAVELA 058CD
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Sarnadas, a multi-disciplinary artist based in Porto, returns with the second instalment of his drone opus The Hum. Titled The Humm, this second long-play album follows the first record, having resulted from the same two-day, extensive and intensive composing sessions during which the producer created eight hours of layered, ambient music. Sarnadas focused his endeavor on a stripped-down setup comprised of just a homemade synth, a mixer and some effects pedals, generating various layers of sound and manipulating their overlapping and apparently random relationship to create eight pieces of spatial, dreamy music, with ever-changing organic plasticity. The concept behind the double album The Hum lies in the new moniker Sarnadas, also known for his singer-songwriter Coelho Radiactivo persona, or as João Sarnadas, one of Favela collective's spearheads. As Sarnadas, the musician focuses on a more melodic approach to sound, unravelling new possibilities by relating simple elements, shifting over time and space. Drawing inspiration from the idea of cities humming their own tunes, as an expression of all things urban playing in the background, The Hum series describes Porto and Aveiro (Sarnadas's native city) pulsing lives through nuanced drones. Over the first long-play, Sarnadas created a series of bleak ambient pieces, with saturated sounds overwhelming senses as a means to create images surpassing the reality of each city. The Humm, on the other hand, all pieces of music shift from a lucid-dream feeling to a sensation closer to waking up, soberer and graced by dawn, where less abrasive layers allow the interpretation of clearer forms and images. Die-cut cover with two printed inner sleeves and sealed outer plastic sleeve.
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FAVELA 054LP
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In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. In Trux We Pux 04 is the last in a series of four records organized by Favela Discos, set out to shine a light on Porto's thriving experimental and improvised music scene. Throughout the collection the label tries to expose the eclectic sound and collaborative practices that have been in development in the last few years in the city by promoting the collaboration between artists and the creation of new collective improvisation pieces. As the first album dwelled into the electronic specter of the scene, this volume veers itself to the physical side of experimental and improvised explorations. Although there is space for outsiders manipulating the sound by electronic means, most of the music in this album is plucked, bowed, percussed or sung. The artists themselves are as varied as the music they played, among the 13 artists that collaborated for the creation of this album are many promising newcomers but also some of the more recognizable and relevant names in the scene, with the presence of the Sonoscopia founder Gustavo Costa, João Pais Filipe, one of the most characteristic drummers in Portugal, and the DIY duo and underground staple Calhau! As you could suspect, the diverse selection of musicians, while providing you a view on the various kinds of musical languages that populate the city's scene, also creates a dynamic collection of sounds. Spanning a large gamut of sub-sub-genres, from near-musique concrète to tribal noise, the album is a rollercoaster collage that miraculously achieves logic and cohesion, like a voyeur listener taking you on a journey through an abandoned mall where most of the bands in Porto rehearse, whose halls reverberate with a cacophony of music. Also features Diogo Jesus, David Machado & Nuno Pinto, Jorge Queijo & Tiago Ângelo, Dora Vieira & João Pais Filipe, Angélica, and Filipe Felizardo & Nuno O. Printed inner sleeve.
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