A Look at the Portuguese World

The edition of this week gives voice to the insurgent, the ones that are out of norm and follow their own voice, like some of my guest. 

 

 

 

 

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The criature is born and the work is done

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This unusual project arose from Edgar Vicente's desire to make Portuguese music with other musicians and what started with only six elements was gaining strength and more instruments and at this moment is a band that more than singing in Portuguese makes a bridge between the traditional sound and a more contemporary layered sound, resulting in songs that go to meet the Portuguese and the identity of the band as a whole.

Does the creature begin with you, with traditional Portuguese root music and them you create a gigantic band?
Edgar Vicente: My idea was to meet my identity, my generation and with people in general, from the youngest to the oldest. I wanted it to be an identity in unison, to get people together, at a time when love is more globalized and day after day we lose this idea of belonging. We have to constantly revisit and started this idea in Serpa with the aim of recording an album. What I wanted was to go to the tradition and realize what that was, which is no longer part and there arises a need, also, to need more people, more creative to help me to realize this and the invitations began to appear. They are people with whom I had wanted to work, but this opportunity had not yet arisen, like Carlos and Gil and others with whom I had not yet played before and who wanted to take them in these musicalities.


What I found curious about listening to the album, "Aurora" and hear it on stage that is a brutal difference. On the CD the sound was less lively, more polished, very well finished and mastered, but I preferred the versions on stage.
EV: This has to do with the fact that the album was made three years ago.
Gil Dionísio: It is three years of road, from this revisiting inside, was the being forced to have a real look out there and to what is around us and that made there things that had been done at the time, I had 24.25 years old and you had 19?
EV: 21 years
GD: Now Edgar is 25 years old and there's a brutal difference. A person thinks differently than at least four years ago and I will be almost 30 years old. That is, we grew up with this songs that we did and there were things that failed, there were themes that now have more force and are more beautiful and others that was the reverse, songs that ended up having a much less strong dimension. Above all, when I hear the album I create a relationship as I listen to it and I mature it more. The cover itself is a piece, it's all we want to do and over time, on stage, we created a very intimate relationship with these songs, with the Portugality, whatever that means, but that can convey so much. Over time we created this relationship with this look, with this way of making music in an emotional way, or as Edgar says of who "is here", it is a tradition of Portuguese traditional music, pimba music and all music of the world that exists at the same time and that influenced that same musicality. That is, when we bring traditional music we can not only look at the "modinha", we looked at people, the stories and a whole set of things that are around it so that this relation with the subjects is more intense, more emotional. When we get to the stage there is a whole novel that never ends and that is what you notice.

You are many, about 11 musicians on stage, it must have been difficult to combine this and all the musical personalities, or not?
EV: That's one of the main aspects of this group, the fact that we're different and we've all started it realizing that we were very different, so, there's a lot of tolerance. Every once in a while there is one that advances and says that in rock you do not do that, we did not know what we were looking for or what we were doing, we just knew that we were all very different. We open a great space for tolerance, to take advantage of what others will do at departure, because we know it will be different from what we are going to bring.
GD: There's a very important aspect here, as a group and what we're all doing it, is that we do not know what is this about traditional music. In the band I discovered a lot and when we do something different from each other this opens all possibilities and when we get into this pit all together are many ideas, many points of view, but in general is let's find out what is this great, giant inheritance.

Is it, therefore, that the songs are so long? Because comparing with a melody of Portuguese music are quite extensive.
EV: We liked to reach a certain state with the songs, which does not mean that the paths do not reach certain peaks, but in some subjects already it is possible to feel a history.

But there is a theme that seems to tell more than a story, the song that tells of the girl who does not want to go to Mass and the young man who, although he did not want to go to university, does not pay. 

EV: It's actually the other way around, she's going to Mass and I'm going to college not because I did not want to, but because no one told me not to go.

I thought there were two songs in a single song.
EV: Exactly, this theme is called "It's the practice" and we ended up singing that there are things that no matter how traditional they are, or why it has to be that way, if we think about what we're getting into we end up not doing them. This is no more than asking questions, that's what people suggest. It's good not to follow the tide, it's good to look around and paddle down other routes where we can get there faster.

In the concert already sang one of the themes of the next record, "The bride".
GD: We sang five songs from the next album. "a noiva", "bem bonda", "lobbies man", "dá praxe" and "a gaita".

Why did you decide to start presenting these themes on stage to get feedback from the public?
EV: I think it's because of this relationship that the band has to be constantly renewed. We would never be able to play the same repertoire for three years in a row, songs will come naturally to us to stimulate as a group and to captivate ourselves. It's so great when someone comes in with a song for the first time, we rehearse it and have a new moment that brings us a renewed magic on stage. The show is much more than that.

"The Bride" is not a definite name for the album?
EV: We still do not know what the name of the album will be.
GD: I cannot do this projection.
EV: I know what you're going to call (laughs)
GD: It's "bem bonda" but there's still no certainty. Curiously we liked to know what we were actually doing, we liked to look at what we are doing. We're still going to record this end of the year and the beginning of the next, we do not have any projected dates or names yet, although I have no problem playing the songs before. I cannot anticipate what the album is going to be because part of this course is to find out what this record is going to be. This band is this, even in the concerts we do not know how it will be. Curiously, about the songs we do not think they are long, they are layered narratives that we discover each time we play them. "The Bride," or "The Bagpipe" we do not know how it will sound. It will probably be like what you saw on stage and I do not even know what it will be, obviously we've already thought about it, but maybe at that point other things will come and it's time to give us that answer. Let's live, play and when you get to the album it's going to be a mix, but I do not know how it's going to sound.

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