Nye skiver og bøker

flere skiver og bøker...

Våre podkaster

flere podkaster ...

Skiver du bør ha

flere anbefalte skiver...

Våre beste klipp

flere filmer...

Ledere og debattinnlegg

flere debattinnlegg...

På skive


«Chão Vermelho»

Portuguese experimental cellist-vocalist-composer-free improviser Joana Guerra describes «Chão Vermelho» (Red Floor) as a collection of lamenting, ritualistic pieces inspired by the increasingly dry ground of the surrounding area of south Portugal, where she resides. Perhaps because the floor covering the earth, is like skin with deep cracks that attests to the tiredness, the wrinkles, of civilization. But perhaps there is hope and only a woman with her cycles of renewal can feel it.

Guerra wrote all the pieces and ventures this time also on Portuguese guitar, prepared electric guitar and keyboard. The apocalyptic environmental scenario in which the extreme dryness of the red ground where nothing can grow anymore, with its alarming images of blue-metallic flowers, a white animal about to go extinct and rare stones, is intensified by the dramatic theatrical atmosphere of «Chão Vermelho». The pieces sound like a mix of pagan prayers and chants, Fado-tinged chamber music and Mediterranean folk traditions, but evoke the ever imminent possibility of regeneration. The album was recorded in September and October 2019 in Lisbon and Guerra was joined by Maria do Mar on the violin, Carlos Godinho on percussion and objects, as well as the contributions of Sofia Queiróz Orê-Ibir on double bass and Bernardo Barata on voice.

The Listening experience to «Chão Vermelho» in the times of the Covid-19 pandemic charges it with deeper meanings. The sheer beauty of the exquisite, haunting pieces and its reserved, refined dramas, linger long after the listening is over. The always elegant and compelling delivery of Guerra, together with the poetic texts of fellow experimental, female musicians, emphasizes a strong feeling of compassion to the area where she resides. The humble, minimalist atmosphere suggests also few daring sonic experiments on the enigmatic «Pedra Parideira», «Oásis» and «Redução». Guerra’s f apocalyptic feminist message is expanded into distant geographical terrains, as her cello and bowed Portuguese guitar often sounds like a Greek lyra or a Persian kamanche.

Pure magic.

Eyal Hareuveni

Joana Guerra (c, v, el.g, por.g, keys), Maria do Mar (vio), Sofia Queiroz Orê-ibir (b), Carlos Godinho (perc, obj), Bernardo Barata (v) 

Skriv et svar