Where lies the world is the new album of JP Simões that reflects his idiosyncrasies, his critical and ironic lyrics, in a different tune format. A more than perfect excuse to approach his music that is not universal, as he defines himself and his career.

Let's talk a little about your new work, where lies the world?
JP Simoes: I did already launch it and promote it. It was interesting, was a disc that had its creative and production complications and, I think is doing well, although is not a commercial album, is was done for people in a state of meta-discourse.

This aspect is due to the fact that has strong component of jazz?
JPS: It's not a disc with this influence, but, touched by jazz musicians. It was composed by me and Afonso Pais and musicians who played are very experienced and had a background in this area. To me jazz musicians are more someone with an education of excellence, than anything else. The only difference between these musicians and classical ones, jazz gives more value to improvisations rather than rigorous enforcement. It's the limit. It was just a coincidence. What I did is a question of what I do, writing songs, the only difference is that were played by musicians of excellence.
This project has provided a number of times various dates to be released.
JPS: That happens all the time. It has to do with many factors. It depends on the record companies, there are periods of ups and downs, and then there is a concern not to lose its role as a business, because CD's simply do not sell. There are 30 albums to be released at the same time and in fact, things are always slow, at least to me has always been so. I think that lingers constantly because people work in a concert way and then only speaks to the media when they will release an album, when they are very sure of that. I do not know, I'm used to it, is part of the folklore.

So you think that musicians can only survive if they do live shows?
JPS: I think so; the future of musicians is to make music. How can they live with it, it varies and it is such a thing, I cannot make a prediction, but most important is to play, be with the public and make money obviously. I think that's what the discs are all about. To promote our work and trigger a new set of performances.

It is a milestone in the career of singer Marta Hugon

I discovered the voice of Marta Hugon unintentionally awhile ago. It was a very happy coincidence. A different time is her latest discography work and the confirmation of her maturity as a singer of musicians. This album is a journey through various musical influences that she plays in a way not transferable. The voice of his jazz singer is just like a fingerprint, is unique and unmistakable. Belly button is a farewell letter that allows you enjoy the expressiveness of her voice accompanied by the trio of musicians of ever on the piano Filipe Melo, Bernardo Moreira on the contrabass and Andre Sousa on the drums. Lightweight is just that, light as a breeze, is the memory of a time, an affection that stamps a smile on our face. It is a fraction of happiness. Swim Slow is another of the themes contained in this work. Its fun and glides smoothly through our senses. Forget Paris is a music candy by Bernardo Sassetti, is perhaps the song with more jazz influences in this wonderful work.

The essence of this collection of songs is a candid journey, to be heard again and again. Without rest. It is also the claim as a songwriter of Marta Hugon since most of the themes are her own and the arrangements are from Filipe Melo and a special guest musician Mario Delgado in the production and guitar. A treat for the ears.

http://martahugon.com/

There are six for a dozen. Six women. Six voices singing at cappella. Six different shades of sound that enchants audiences. Six disparate personalities that complement each other in an unusual musical project that recently released its debut album, barefoot.

How the six for a dozen did come together?
Fatima Ornelas: The idea came up within the Xarabanda in 2004. The group wanted to form an all-female traditional music band to sing a cappella. From that moment on, Rui Camacho and Professor Roberto Moniz address invitations to several people to join the group. Of the initial six voices, two had to leave for personal reasons, which were Aliane and Filipa that started with me. So, that left two vacancies that have been filled by Susan Brandão and the last element was chosen through an audition. That's when we heard the Carina and the group was complete.

Why cappella singing?
FO: Because it's different. Groups of traditional music there are many. We scored the difference by singing at cappella. What now is not easy, because we do not have the support of instruments. We used percussion instruments but are not in harmony or melody.

And why an album now? And how did you proceed to collect and select the songs?
FO: We exist since 2004 and are only now that we are launching this CD, because as we have already made a journey over the years, we thought it was time to compile the work done during that period of time, to have a record of what was done . Included on this CD, as well as traditional songs, are lullabies, working songs and some Moorish work.

And the name barefoot?
FO: You can have several interpretations. We wanted that name because we have acted from the beginning always barefoot. It's our brand. On the other hand, symbolizes a simplicity that unites us to the past, although we are at present, continued barefoot.

It is an unusual collection. Unlikely duets to help people with mental illness. Support the movement.

It is a call to combat discrimination against people with mental illness. His album is the work of Find + it an association that supports people with mental disorder, to celebrate its first year of existence. It is a project under the name of UPA, United To Help, which compiled during this period of time, thirteen films that address the topic of psychic diseases, 13 posters and 10 songs with the intention to raise funds for this non-profit private institution. All this effort has emerged as a work of great music quality. Some of this album contained duets that are really unexpected and result all too well. The opening theme of Jorge Palma and Manuela Azevedo, of the clan, could not be the better cards for this purpose. It is an "invitation" to music played by two unforgettable voices. The theme "Someone heard me," Boss AC and Mariza describes the longings, the anguish, suffering and isolation of people with mental problems due to the prejudices of a society that does not understand them, that not even accepted as full citizen. It is an emotional song, exciting and with a very strong message. "Listen well," James Bettencourt and the Cool Hipnoise is an appeal for tolerance and understanding. It is giving a hand, because there is no journey without return. "He is not" is the musical participation of the unusual double, JP Simões and Rodrigo Leão. The result is superb. It's the other side of the mirror, which looks for that someone they love, and do not understand it, which denies these reasons, the pain. Bipolar, Rui Reininho and Mesa, is the motto for the world in which we live in. One that is changing, a schizophrenic society that sometimes make sense, other days not so much. The rest of the songs contained in this collection I leave to your discretion, I highlight just a few, not because the remaining work might be smaller, but because I do not want to uncover everything, listen and enjoy the videos contained in this common project. At the end of this text I leave the link, support this cause.
http://www.encontrarse.pt/upa08/

Love horror is the new musical adventure of Daniel, Miguel and  Ricardo, former members of pintarolas. It is a bet on a band that sounds more nimble and with more mature lyrical. The lyrics reflect the universe of these young musicians, with a strong rock sound. There is still no date for the launch of their new work, but the group is already going on the road, they integrated Vox Tropper Tour, which begins in October 29^th in Gloria do Ribatejo, with free entry.

Let's start from the end. What dictated the ending of pintarolas?
Daniel Filipe: All bands end by the same two reasons: For personal reasons, relationships between members. The other reason relates to artistic differences. The composers of the band wanted to resize the project in terms of technical content and there was no consensus.

Three former members migrated to love terror. What changes in terms of sound in this new work?
DF: In terms of sound and lyrics has been a great development for those who compose and arrange our type of music. For me, and Miguel, who are the two composers, changes everything. We have a richer sound, instrumentally more in line with our capabilities and the very much the image of what is out there. It is a more developed sound; there is already a certain type of guitar and drums. It is more defined.

In terms of lyrics?
DF: We in pintarolas wanted to create a project with lots of humor, a startling, and laughter in people. Now we do not have this concern. We like to play with the Portuguese, work it. It's a song most identifiable of our personality, not always joke out things, we do not want that. Quite frankly, there are no rules! (Laughs). Basically that's it; we do not have a humorous concern.

From what I hear, there is the introduction of two female voices. It’s a   keeper on the project love terror, or is just for this album?
DF: What we intend to demonstrate with our guests is that most of the music with higher quality in Portugal, has not yet reached the public. The singers, musicians and interesting people with more vision are still unknown to large audiences. So instead of inviting musicians known, which could have already done, we get two people completely anonymous voices with great talent and special.

Why are their voices so special to include in the album?
DF: There it is! These are people who see music differently. The music for the music. Maria Margarida Rodrigues has 16 years, a huge potential and composes. Ana Sofia Antunes, has been internationally prized, but never had the recognition in Portugal. I have the notion that the major national talents are not made public. Is there some type of closure, scheme and system that prevents these people is recognized.

It's homage to bossa nova by the Morelenbaum duo and a very special guest, Ryuichi Sakamoto.

It is an album that covered several songs of the father of bossa nova, Antonio Carlos Jobim. Best known as Tom. These are the ultimate interpretations of one of the greatest pianists of our time Ruychi Sakamoto, the wonderful arrangements of musician Jacques Morelenbaum and sang with the warm and melodic voice of Paula Morelenbaum. It was recorded in a very special house, the residence of Jobim, not only as a kind of homage, but because it was his refuge and the space for impromptu concerts, where the composer liked to receive friends, guests and other musicians, his nest. It was also where he composed some of the themes contained in this album.

The recording process contains a fourth element, the most unusual, the cathedral, the house. Is audible throughout the album, the noise produced by wind and birds that are a part of it. A purposeful sound that artists were keen to include in this musical journey. A trip through the tropical Brazilian music, which also involves the son of the conductor, Paulo Jobim on guitar and the unmistakable voice of Ed Motta on the song imagine. The house is a melodic diamond, has many faces and all of them are brilliant. We can hear it forever and ever. It's the soundtrack of a lifetime. It is for all fans of bossa nova, but above all is for all music lovers. Just to sharpen your appetite further, the House had its sequel, this time in a quintet, which includes in addition to the three magnificent musicians, Luiz Brasil and Marcelo Costa, under the title of a day in New York.

It is the work of an irreverent young man from the island of Faial, which mixes several sound components with contemporary traditional music. With a background in classical guitar at the conservatory of music and marketing, this musician's repertoire revisits several themes of the Azores for a more popular component. An experience that does not stop here. Pedro Lucas has a second album in the pipeline for release next year.

What is the concept behind this album?
Peter Lucas: It started with an Azorean who is the musician Carlos Medeiros. A couple years ago I returned to the Azores and watched a live concert of this musician and fell in love with the disc. I could hear it constantly and one day decided to play with one of the songs with the kind of musical language that I used at the time, the digital, with computers and synthesizers. I liked the first result of this experience I decided to revisit the album in full, hence the play with words. Throughout the process, has been adding other topics, in addition to the four original Carlos Medeiros songs, I researched many songbooks collections of traditional music Azores.

In undertaking this work did you had the notion that it would be innovative and therefore might not be well accepted?
PL: It was not groundbreaking; this kind of sounds has been reinvented by classical composers for centuries. I do not think I was creating a new concept. My approach already existed. I knew there would be traditionalists who would get a little upset with my work, but I also knew that a large majority also gets something from the traditional repertoire, works it's and gives it life so to speak.

What was the public acceptance, outside the islands?
PL: So far it has been great. I think the experience doesn't troubles me much parts from a traditional aspect to another universe that is popular music and it somehow helps. Whatever the origin, from Tras-os-Montes to the Algarve, the music always manages to say anything to the Portuguese, regardless of the region, because despite the specific nature, always reaches the people.

What is the next step, the concerts?
PL: The album was out in November of last year. Throughout 2011we played a bit of the country. We have been to Tavira from Santo Tirso. We were playing across the continent, but also played in Madeira and the Azores. The next step would be a complete concert. Make a small national tour, featuring special guests such as Carlos and Zeca Medeiros. Two musicians who perform with us always in the Azores, but there have been no opportunity to take them to the mainland. I am developing a new album, I want to debut in September of 2012.

A double CD of original contemporary music, by one of the greatest Portuguese composers

This album comes almost seven years after an intermezzo that António Pinho Vargas called an interview necessary, because it helped to create a new relationship with the piano. An intimacy evident in this album, for its deceptive simplicity of music. Just to whet your appetite, start with the tribute to fellow musician and composer, strangely in our beloved country, Tom Waits. The melody is a term of emotions and contradictions, a bit like the Australian musician. That love does not fool me, been working weeks on the original theme music by José Afonso, better known as Zeca Afonso, and I think the result is wonderfully audible. Words for what?

June, do not know if it's a name, or just one month, no matter, it is a tender and gentle melody that will climb, is the prelude to a moment. What? Let yourself go, to sink into their memories. Another raid, with the theme black fate, we can recreate the feeling impressed by the Portuguese guitar on a piano? I think we can. There is something disturbing and painful in this melody. It speaks of silent screams, burning and agony. Dancing with the birds is clearly my favorite, is emotion in its purest sense. Then there are different times, which gave strong impetus to this topic and make this unforgettable melody. It transports me to an urban setting full of people who hurried along the street on one side to another in groups, frantically in different directions in a normal day's end. Like birds.

http://www.antoniopinhovargas.com/

Is a band from Madeira with an amazing and alternative repertoire. They are a group of musicians with an unusual vision and disconcerting at the same time. Come and meet them.

The punk d’amour is a band with influences that blend traditional with ironic lyrics, bold and fun that brings us to a certain musicality of intervention, a sound that reminds us of Zeca Afonso. It is an alternative and original musical concept at the same time. A duality, according to the singer, Filipe Ferraz, underlies the very name of the band, "punk is humor, the aggressive part, the rebellious part, angry and love is the other side. It is the dichotomy that we all have. "
The melodies result, as he claims, "the influence of traditional sounds. It’s all Rui Camacho fault, because we started rehearsing at the headquarters of Xarabanda and suddenly we had a number of traditional instruments at our disposal. He showed us the weight, its sonic capabilities and the history of the instrument. Suddenly it began to make sense to be there and be part of a tradition that is meant to be increasingly universal, but at the same time aims to pay tribute to our roots. "

The lyrics reflect the most daring and edgy side of this band of Madeira, have a kind of crazy and wild and at the same time outlandish stories tell through the beautiful voice of Mariana Camacho accompanied only with rebound, as underlined by the musician, "is our vision, is the way we do it with irony portray the world around us. We live better if we talked about the problems; I really think it's healthier. “One such example is the theme polyglot "is a melody that is unfinished, the concept of this song: what is currently the world saying. If we could select a sentence each, gives a whole. "
The band has 11 songs that wish to become an album,” we live between Lisbon, Madeira and Porto. We are recording the tunes separately, each one recording their part and then got together. Is unthinkable to record an album this way, but rather to a maquette it works. “As for live concerts, although are a great experience, Filipe Ferraz stresses, "I do not give much importance to the biggest stage for such performances is expected pure energy and our concerts are intimate. The group dynamic is lost.

 http://www.youtube.com/watch?v=jMYksHgz3Yw&feature=related

It is an unusual album from one of the biggest names in the traditional Portuguese music, Janita Salomé. It is a tribute to wine.

This disc is a journey of Janita Salomé through the history of wine. It is an ode to the various moments resulting from the alchemy of wine as he sings this song. It is a blend of aromas and flavors visible in the musicality of this album. The singer's voice modulates to the sound of various instruments and musical influences. Wine. Ever present in the most important occasions of our lives, he dares you "get drunk"! It is indeed ironic that this sung poem leads us to the cloisters of monasteries where they produced wine and also our nomadic heritage as a people, like Gypsies. The "banquet" is another one of rare beauty, a hymn. Go from mouth to mouth a golden cup / bread and nothing we're going / as the wine passes through the cup of life / to then be spilled on the floor. It is the food of the spirit that flows through the canyons of wine lovers, who names the album full of  Mediterranean references and wonderful poems which arise, Carlos Mota Oliveira, Jose Jorge Letria, Anacreon and Charles Baudelaire, to name a few. I close with the "star of the wine," with three cups we won happiness / more three glasses and we have the universe on our hands...