Phantone, Angélica Salvi's debut album, expresses what she's been learning with her work over the past few years: she has a unique ability to communicate and express herself freely with her instrument, the harp. Born in Spain, but a resident of Porto since 2011, where she teaches at the local Music Conservatory, her career includes collaborations with Evan Parker, Casa da Música Symphony Orchestra, Ensemble Modelo 62, Brokkenfabriek, Butch Morris, and works developed for Sonoscopia or Balleteatro.  Phantone, recorded during Encontrarte de Amares event inside the Rendufe Monastery, seeks sound freedom and explores the ways though which sound can inhabit a space using different layers and paths. The “phantom” that exist in the seven pieces of Phantone is very real, but less formal than you think. More an affirmation than a presence, whether in the imagined places of Salvi's music or in the concrete effects that the recording in the monastery induced in her music. Music that you read, hear, smell, feel and taste.

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They´ve stolen their name from Mão Morta, the bass groove from Sleep, the guitar fuzz from Hendrix and the drums in locomotive mode from Earthless. Like the Sex Pistols, with what they´ve stolen, they created something new and unic: not a punk van, but a stoner spaceship with only two speeds - the orbit and the escape, propelling us into the sidereal vacuum where a riff stretched to eternity seems to last just long enough to induce trance. Owners of what is probably the most fascinating psych rock born in Portugal, the collective arises from the effervescent movement of new bands coming out of Barcelos in the late 90s. Today, with seven releases and a handful of the most relevant collaborations (from Peter Brotzman to La La La Ressonance, from Jonathan Saldanha, to João Pais Filipe), they are one of the most referenced bands in Portuguese underground.

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They´ve stolen their name from Mão Morta, the bass groove from Sleep, the guitar fuzz from Hendrix and the drums in locomotive mode from Earthless. Like the Sex Pistols, with what they´ve stolen, they created something new and unic: not a punk van, but a stoner spaceship with only two speeds - the orbit and the escape, propelling us into the sidereal vacuum where a riff stretched to eternity seems to last just long enough to induce trance. Owners of what is probably the most fascinating psych rock born in Portugal, the collective arises from the effervescent movement of new bands coming out of Barcelos in the late 90s. Today, with seven releases and a handful of the most relevant collaborations (from Peter Brotzman to La La La Ressonance, from Jonathan Saldanha, to João Pais Filipe), they are one of the most referenced bands in Portuguese underground.

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Some say this is a meeting long written in the psychedelic sky. Everything seemed to announce it on the paths of both the Portuguese stoner rock band Black Bombaim and German free jazz saxophonist Peter Brötzmann. The first ones had been adding a saxophone to their music, with their choice usually being Rodrigo Amado and Pedro Sousa, leading figures of portuguese jazz, or late Steve Mackay, tenor who appears in the pioneering “L.A. Blues” by Iggy Pop's Stooges. The second had multiple rock approach experiences from Last Exit formed with Sonny Sharrock, Bill Laswell and Ronald Shannon Jackson to Full Blast with Marino Pliakas and Michael Wertmüller , passing by his collaborations with his son Caspar Brötzmann or Keiji Haino's Fushitsucha. And the curious thing about this partnership is that neither the guitar, bass and drum power trio goes out of their way to accommodate Brötzmann, nor does he attempt to compromise with his interlocutors. It is simply not necessary.

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Cave Story were born as a trio in Caldas, a city land that has been linked to a certain artistic movement in the West part of Portugal. In 2016, they took over the Portuguese radio stations with West, a debut EP where they purged fears and boredom through a set of songs where rock notions met a eared and colorful pop, exactly as the urgency and rebelliousness of youth demands. Transformed into a quartet, they edited Punk Academics, guiding us through the lessons of DIY, punk and hardcore. A case study on the influences, without prejudice, of the physical liberation of the Black Flag, playfulness of the Minutemen, or the contemplation that never loses its sight of the Television.

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Duquesa is Nuno Rodrigues, a young man who translates his metamorphosis with melodic resourcefulness and pop hooks whose taste dissolves but does not forget. His music praises that the written word is implicit in the art of songwriting and his voice blurs with the melodies with which he paints his charged expression. Wrinkles get around with irony-torn smiles and a pop pastel base is applied. In Norte Litoral, we hear his passion for the 1980s turning into a current pop sounding document, where lyrical minimalism makes room for neat arrangements, bold melodies, drawing us to both familiar and distinctive landscapes and a blunted romanticism.

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Ghost Hunt are not chasing ghosts, nor do they want to scare anyone, but the music they make could be the soundtrack of a rave in a haunted house. They grew up in the same city, Coimbra, went to the same school and were practically of the same class, but they never belonged to the same "tribe". Pedro Chau, from The Parkinsons, has always been more connected to punk; and Pedro Oliveira, a former member of Monomoy, has always been closer to the indie universe. Today, older, they form the electronic duo Ghost Hunt. Age is like that, it awakens our ears and minds to other influences that have always been there within our reach, but that we didn't even know we had.

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Glockenwise are Nuno Rodrigues, Rafael Ferreira and Rui Fiúsa. They were 16 years old when they started making music, inheriting the spirit of the famous “Barcelos scene”, a cool narrative that has Milhões de Festa as its epicenter and good neighborhood as its creative policy. After three albums, Bulding Waves (2011), Leeches (2013) and Heat (2015), they bet on reinventing themselves and they won. They swept the national tops with their best album yet and the first totally sung in Portuguese. Launched around Christmas 2018, Plástico is a testament to the band's maturity and an unequivocal proof that there is much to see and hear in the country that exists outside the great urban centers. Lyric painted with irony, that reflects on the foam of days, their routines and normalities, the sound universe that they built balances the urgency of rock (a space that they so well traced in their first three albums) with the unfolding of modernity, making us believe that the future of Portuguese music starts here, today.

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João Pais Filipe is a drummer, percussionist and sound sculptor from Porto, born in the 80's. His path as a musician is marked by the collision with a wide range of styles and languages in bands such as Sektor 304, HHY & The Macumbas, Unzen Pilot and Fail Better !, Paisiel or CZN. While maintaining a regular activity in the improvised music world, he has participated in numerous projects alongside Burnt Friedman, Steve Hubback, Fritz Hauser, Evan Parker, Marcello Magliocchi or Rafael Toral, to state just a few.

His music comes from the construction of gongs, cymbals and other percussion metal instruments, where he explores the sculptural dimension and the acoustic properties of the instrument. As a solo artist he advances through the exploration of the tension that can be created between the mechanic and the organic, the repetition and the loop, the dance floor and the mantra, creating a space for his own labeled ethno-techno where dancefloor cadences are appropriate and reinterpreted in a custom percussion kit designed by him. 

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Jorge Coelho carries in his fingers the force of the generation that would dictate the rhythm of music production in Porto. With a background strongly rooted in the city's sonic culture, the guitarist explores the many possibilities of strings within various fronts, sometimes bending conventions with Torto, sometimes honing the art of storytelling fingerpicking under his own name. Invariably, and with the dexterity of those who were born to this, it is with his winding instrument that Jorge Coelho proceeds in a straight line, continuing to establish himself as a force in the art of writing music.

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Julius Gabriel's music is, in its only apparent abstraction, haunted by the earlier lives of saxophonists whose music has passed through time like an unprecedented gust of sound. In “Dream Dream Beam Beam”, his first solo album, the German saxophonist organizes his idiosyncratic musical influences to create a flowing mantra of circular patterns, overtones and free jazz eruptions, that can be understood as the possible synthesis of a long jazzy tradition interspersed with imaginative drone and noise intrusions. In his most recent work, Ætherhallen, Julius Gabriel keeps his tendency, with a pass in the psychedelic and a detour to the minimalist. Julius Gabriel's improvised compositions sound like eccentric dust particles dancing, in slow motion, under the twilight until the end of time, proposing to those who hear them a requiem for eternal life.

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Killimanjaro veni vidi vici. Rock of the best kind, exported from Barcelos, Portugal, they brought the refreshing to what was stagnant. From classic metal to its more muscular deviations, from the Sabbath school to the Iron Maiden leather, they developed a perfect technique of adding line and sinker to the chop, remaining undefeated in the art of inducing bodies into a well-justified headbang. The refined craftsmanship they built lives for the stage, where, in one grasp, they dispel any doubts about what they are here doing: Killimanjaro know how to throw a Mike Tyson style hook without tearing our ears off.

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We don't know who had this idea, but for us it would deserve a medal. To join the one who is, without a doubt, the best and most crazy vocalist that this country has seen (a title that he exhibits, by its own merit, since the mid-nineties with Zen and recently renewed in the insanity of the Plus Ultra) to Greengo, probably the biggest driving force that Invicta saw arise through puffs loaded with intention and acidity. Gon finds the ideal chariots of fire on Martelo's bass and Chaka's drums to launch himself into an endless list of diatribes about isolation, alienation, corruption, the consumer void dazzled by technology or corporate culture. The sound that we are given is brutalist and, to a large extent, impossible to contain. Music that requires resonance and space to be felt, that grows urgently in the carbonary spirit that forces us to reflect about life without hypocritical rules and responsibilities. Let us reject, with them, the idea that we have to become an ideal, a devout comrade of unique thought, far from being an individual and not just part of a tribe.

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As we say in Portugal, those who go through Alcobaça do not live their lives without returning there. Unless you are already a local born and apart from worshiping the art of local convent pastry, you endured on the veneration for another less ancient art, that of making rock and roll. It would have been something like this that marked the upbringing of Mr. Gallini, who was born in the portuguese small village of Pisões and whose parents named Bruno Monteiro. He started his rock life as a drummer Stone Dead, brothers born in the same region, with whom he has toured all over Portugal. Not forgetting his mother land, but also seeking to find his own space as a solo artist, Gallini released Lovely Demos, his debut album in 2018, and introduced in 2019 his successor - who is also the second volume of an announced trilogy. The Organist shows Gallini's pop side, following the milestones of rock (choruses, youth, electricity), but leaving room for other more electronic tools (keyboards, theremins and vocoders) to breathe too, creating an album that, at the same time, pays its dues to the 90s brit-pop and the 50s space era, but sounding lively and up-to-date, without falling into the marshlands of mere nostalgia.

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OTROTORTO never walked in a straight line - the musical exercise of the trio that joins Jorge Coelho, Jorge Queijo and Miguel Ramos twists the traditional formation of guitar-bass-drums with challenging harmonies and melodies that are not looking into the familiar grounds. It is in the tension that they are resolved and in the dissonance that they sing and enchant, creating a disconcerting language that engages and develops on its own terms, but with music frequencies they all share. OTROTORTO are suspended without ever falling and revealed themselves as fluent and fluid storytellers. “Letargia em Ré Menor” was the last release of these symphony masters, a sound metaphor about the power of comprehension, restraint, gravity as a force, and the effects of leaning into free will.

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Paisiel is the enigmatic name of the project that unite drummer, percussionist and sound sculptor João Pais Filipe to German saxophonist Julius Gabriel. Based on an individual exploration of the sound and expressive possibilities of the instruments they play, the music made by this duo systematizes references without correspondences or obvious affinities. Textured and abstract melodies propelled by a simultaneously mechanical and existential percussion that metamorphoses into a kinetic transe. Heterodox and digressive musicians, moving freely between experimental music, jazz, rock and the other indecipherable new musical categories, João Pais Filipe and Julius Gabriel create radiographic music that is somewhere between reception and broadcasting, like a cosmos telephone exchange.

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As the country burns with boredom, Sereias get totally immersed in the jazz-punk that promises to be the anthem of a campaign that needs to hit the streets. In the center the poetry of A. Pedro Ribeiro (the “unblessed” poet, anarchist and ex-candidate for Portuguese Presidency) in a constant shock with the turbid, electronic and immersive environments of the sonic masters that accompany him. With their debut album they set the country on fire, throwing us with only a single stroke to the couch. And how the portugueses artistic community needed it! A political, social and philosophical treatise, created in a time when all of this represents an affront to the status quo, to the great teacher. Written with deceptive violence, between the lines of provocation, in the epidermis of a breastplate where you can hit at will. Not only in its lyrics, but also in its music. In this avantgarde, punk, free jazz and post-rock format that causes the voluntary eruption of the senses, in the freedom of execution and in the denial of this same conventional posture. A “zapplian” indiscipline that takes us to the territories of This Heat, Pere Ubu or The Fall. And if the record represents a demeaning audacity in this multiplicity of profiles, live praxis is not only direct, untimely but cannibalistic and exasperating. The balance remains at the base of the extremes and they look so uncomfortable on stage that they end up keeping the focus on the audience.

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When rock became a pop ornament, it forgot what was important: a cohesive band, guitar looking bass straight in the eyes, the bass on top of the drums, the cymbals exploding with the guitar riffs; an electrifying communication cycle. Stone Dead haven't forgotten what made rock an explosion impossible to contain, half a century ago, and brought these teachings to today's bodies, with an even hotter fuzz and an even more prevalent bass, proving wrong what many have been trying to predict: rock is dead. No, according to Stone Dead it’s fine, it rolls on riffs as much as on hook, and can be recommended.

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By this time it has become natural to assume that Barcelos' water can carry something special within. What it is we can't be sure, but what it has been doing for Portuguese rock is an admirable achievement. Solar Corona were born within the creative bubble of a city that shows how to write rock with crooked lines. How it should be. Formed in 2013, in 2016 they've reached a stable formation and settled in as a quartet, with Rodrigo Carvalho (guitar / synthesizers), Peter Carvalho (drums), José Roberto Gomes (bass) and Julius Gabriel (saxophone / synthesizers). Following the release of three EPs between 2013 and 2016, Solar Corona reached Lightning One, an album that summarizes the result of years of hard work searching for the sound that would triumph in this lineup. Lightning One is a trip to the top, with the right coordinates in the mix, made by José Arantes, mastered by Chris Hardman and artwork by Serafim Mendes, which transcribes in an image the immensity of psychedelic-tropic roads that merge into this Solar Corona.

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