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I cannot say anything more enlightening than the fact I grew up among the records, hundreds of albums whose covers I remember and dream of even nowadays, and I have been trying since I was very young to make good records with good songs and themes like those. I was born and grew up in a house with a nice collection of over 1000 records, I think, for me it was a vast world of records, it was like the Uncle Scrooge's fort, but instead of coins, it was music records stored on the edifice, a wooden wardrobe in fact. Many of them I could hear, others I have not heard. Deep down, that was always the purpose behind the Babe, Terror thing and my music. Making good records with good songs I liked as I liked the songs that I liked since the first excavations. After some prog and rock bands, I started to compose in my on way on the 2008 EP and on Weekend of 2009, on both with the most beautiful melodic choruses that I could manage to carve, and then I'd cut and generate repetitions to aggravate the original melodic impact. Then I expanded my methods and began to handle more complex lines, which were born of discoveries and exepriences with the decomposition of the original forms (the song Transplanted People, from the album Preparing a Voice To Meet The People Coming, is a watershed).
I tried in these years to master what I had at hand, which was always a simple set starting with my own body. What I did with my voice in the first years, building, decomposing, etc, then I eventually started doing with bits of music from my own music collection. I also learned to play with the piano in a way that It could touch myself, which was the true goal. And then learned to model and join fabrics from different origins and phonographic sources. I also always have wanted to create a soundtrack for myself, to feed and illuminate my own world of wanderings, paths and adventures through the places. I believe most of the music was born of that will. To make good records and get them into my life, just as I had the other albums and discographies. A song that sounded empty to me and unable to bring and transform with music the worlds I lived or could fondly imagine (a subterranean party, a parade of boats in a remote Antarctic environment) would have been discarded, in fact it wasn't created either. I would not go ahead with it.
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The album Knights (which would never exist without the faith and support from Erol Alkan and Phantasy) was my first foray into the world of the underground impressionistic parties, the secret and pictoric parties of the mind and the imagination. Also it was a portal in Perdizes (Partridges), the neighborhood that I live in São Paulo, that has been opened for a parade of these phantoms and riders who would cross the neighborhood at dawn. Then College Clash (released firstly with the efforts from my comrade Dayve Samek's label, Glue Moon) was a basketball teams meeting at a night camp in the countryside of the state of São Paulo in the winter, which is a dry and non-snowy one. Each song is a music streamer, a pennon, for a team & college. Knights now, due to contractual reasons, was a bit reformulated and renamed as Equestrians. It was originally released in 2012.
Ancient M'ocean, again released together with Phantasy, and with fantastic contributions from Mario Cascardo (videos), Michael Crook (comic book) and Bela J (design), came in 2017, when I am writing this text. Others will come next. About Ancient M'ocean, I can say I spent the last 4 or 5 years of my life composing and editing the songs on this album. Thinking better now, this, as well as the others that will come next and are shelved for the near future, in fact is a fruit of a normal routine, that was becoming normal everyday, although it always has its charm. Making music is part of something that in fact has ceased to have this intention of capturing a certain magic to spurt in some place, and started to be the essential exercise of my imagination, and the thing which I do with more ease. So the composition became this everyday work, this labour in the factory, and the albums are coming from there. Perhaps there is a collision, a mixture between this desire to animate and enchant worlds and this routine that is simply go there and make the things. This album, Ancient M'ocean, created me some difficulties but with the long time elapsed I had the chance to put and take out songs, feel and reassess their weight. Make and prepare their carpentry as big park carts that take us on a journey without a return through this world in the immense polar that unfolds in the Earth, the very human home, which has infinite secret lands unfolding through all sides.
Ancient was made to be like a kind of Dungeons & Dragons cartoon, in which the goal was not to meet the Venger, but the characters of the film The Savage Innocents of Nicholas Ray practicing some sort of extraordinary thing that would frighten us. I did not produce the album thinking about it. On the first days I thought more of Dungeons & Dragons cartoon to be honest. But that's how it turned out to sound like maybe. I like to imagine myself in a canoe, going from one island to another, difficult waves, in Windsurf For Souls I. And I think Allureon is my best song so far, the kind of "suite" (as the Uncut guy perfectly said) - a suite that ends in "Forever Home", I want to note- that I always wanted to compose and whose very intention is actually to take you to wherever you want to go.
Good versions of what I think about music and the album Ancient M'ocean itself can be found here and here.
Still in the early 2017 I started working on the most difficult musical work to me so far. The reimagination of "Home is a Feeling", song by the legendary english act Ride. This experience ended up generating what I think is the piece that best epitomizes everything I've done until that point and will do yet in music, "A Creamy Crambled Suite For a Ride". I've dived into the recombination of parts from the song, as well as the spectral magic provided by the band. I reunited these parts with arrangements and voices of mine, creating a new composition. I've put this single piece, which I see pretty much like a Babe, Terror album, here. But it's also on Ride's Japanese "Weather Diaries" CD as bonus track. 25 minutes on that record, something that honors me a lot.
Now in early 2018 I'm making final adjustments on my new album, "Fadechase Marathon", which will be released again by Glue Moon label and by myself here. What is "Fadechase Marathon"? This album will be a deepening in fictions of underground parties, which are in fact the celebrations of the human interior, parties that occur in the gaps of the heart. Perhaps I will be presenting on that album my most solar and nostalgic version of the "Wrong Dance Music" launched in "Knights" (2012), and undoubtedly there are my joyfulest composing experiences with the pianos, using different takes and recording modes in each song of this genre. I sing, I play and I try to create a moldy, campestral, rural and nocturnal atmosphere, a far-away but warm residence for the listener. "Fadechase Marathon" is the avenue that lead to the portal of this house, that's what I like to think. Some constructions of this album began to be erected in 2011. There was a long pause, I went back to the work in 2014, 15 and finished in 2017, with a few more strokes. It took, as Ancient M'ocean did in some ways, definitive shape with time.
Some remarkable things that have happened so far:
-My first show, at the Worldtronics festival in Berlin in 2008. The friday before the show I went to see Hertha Berlin VS Cologne at the Olimpic Stadium. Got lost in the neighborhood cemetery on the previous afternoon when I went to buy the ticket, thought it was a traditional park. Cologne delegation stayed in the same hotel I was, Abion, where i remember to have great breakfests with some nice pork and cheese variations. We used to have the dinner at the festival venue, in the House of the Cultures of the World, and the organization offered us some great meals but more vegetarian.
-The Guardian premiere of "Weekend" in 2009; my EP premiere on New Yorker in 2008, words by Sasha Frere-Jones.
-A few years later the first set of EPs released by Phantasy, including versions of my songs made by Four Tet and Memory Tapes among others.
-In 2011 I went to Brighton invited by The Great Escape festival and Uncut magazine to open a night for Gang Gang Dance. That day I improvised songs with a coral looper and I felt at home. It was like the Berlin show, but I was much more trained. I remember having some good moments and melodic inventions there that disappeared in the atmosphere and I would not be able to repeat.
-The Novas Frequencias festival show of 2013, opening for Tim Hecker, with many pieces of melodies that would later be used in the album Ancient Mocean. It was in Rio de Janeiro, where I spent the previous day eating shrimp on the beach and walking through Ipanema, the land of my idols Vinicius and Tom.
-In 2017, Ride made me very proud and honored to have one of my best works to date- the rework created and produced for a the Ride song ("Home is a Feeling")- released on the japanese edition of the "Weather Diaries" album. The piece, which is pretty much a reimagination and a recomposition inspired by ALL Ride discography, is called "A Creamy Crambled Suite For a Ride". Listen to the complete, 25 minutes long version here. Buy here: https://www.discogs.com/Ride-Weather-Diari…/release/10447152
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