New Release: “Moscote” by Thiago Trad

 

Born in the city of São Paulo and raised in Salvador “the blackest city outside Africa“, Thiago Trad, well-known in Brazil as the drummer behind the pop/rock band Cascadura, launches his first solo album Moscote in the 20th of July.  The release shows the results of Thiago’s worldwide musical research passing through cities such as Berlin, Marrakech, New York, Lisbon, Paris, Buenos Aires, Montevideo, Juazeiro, Santo Amaro and Salvador.

The album transits between the roots of Brazilian music, experimental jazz and the various contemporary languages ​​in an organic way. “Moscote is a free territory, an invitation to the imaginary of transterritorial liberation, where everything is sound and vibration”, defines Thiago.

 

Release: Bex Records and Sê-lo! Netlabel

Digital Distribution: Tratore

Music Production: Tadeu Mascarenhas and Thiago Trad

Mastering: Fernando Sanches (El Rocha)

For further information:

www.fb.com/thiagotradmusic

www.instagram.com/thiagotrad

 

LISTEN HERE!

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New Release: “Conduction BR#5” by SPIO

by Monica Ferreira

Introducing, SPIO (São Paulo Improvisers in Orchestra) is an orchestra of musicians and sound artists of the most diverse trajectories that work the language of free musical improvisation through regency.

With some kind of singular sound and uncommon training, SPIO has in its sound body instruments ranging from traditional in orchestras to electronic gadgets and inventive luthierias. The proposal develops in an experimental approach, always with constructions composed instantly, making each presentation is unique.

Formed by musicians participating in a series of experiences in free improvisation, part of the programming of FIIL – Festival International of Free Improvisation between 2011 and 2014 in Centro Cultural São Paulo, which provided the exchange with artists of the genre of other continents.

Currently, SPIO develops footwear work in the “Lawerence Butch Morris” and released in November 2017 by Sê-Lo Netlabel, their first album recorded live that same year in the worldwide launch of the woorkbook of this methodology.

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New Release: “Muzákna” by Sweet Desastre

 

Sweet Desastre is a brazilian duo formed by Glauber Guimarães and Heitor Dantas.
Muzákna (EP released by Sê-lo Netlabel), a soundtrack for an imaginary expressionist movie (or an expressionist soundtrack for an imaginary movie) was recorded between April and June 2017.
The listener will find echoes of Tom Waits, world music, industrial machinery, Zappa, brazilian music, avant-garde classical music and lo-fi aesthetics.
But there’s a little more than that here. The (musical) exploration of the language of dreams, for example.
The album was self-produced and all songs were written by Glauber, except Absoleta (Heitor/Glauber).

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New Release: LOE LOF LON meets Wayne Rex

by Wayne Rex

About a year ago, I decided to record a random drum track and then, with the wizardry of computer technology, alter the sounds so, it becomes a whole different entity. Alas, I’m not that great with a computer so I just ran the track via a wahwah peddle and hey presto, This is what! was born. Not thinking too much about it, I posted it on bandcamp and it grabbed the attention of Spanish experimental musician, Gori Valarez (Loe Lof Lon) who decided to remix the track and again, it became something completely different, once again. From then on, we decided to record an album together. With the wonders of modern technology, we can easily do this, even from a thousand miles away. I started by recording a number of freely improvised drum trcks, with no definitive style, just play whatever I was feeling at the time. From that point on, Gori adopted the tracks, spliced them when needed and recorded his layers of freely improvised music, using everything from guitars to reeds, turning the tracks into a collection of wonderful improvised songs. Pieces of art, in their own right. His hard work on this album is admirable and he also organised the superb artwork (painted by Piedad Ortiz). She captured the film noir feel to the record, perfectly.
All that’s left to say is, we hope you enjoy the album as much as we enjoyed making it.

The album is a release of Sê-lo! Netlabel in partnership with Ferror Records (Spain) and MuteAnt Sounds Net Label (USA).

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New Release: “Radio Diaspora 2” by Radio Diaspora

 

The Radio Diaspora duo made up of Rômulo Alexis (trumpet, flute, other wind instruments and vocals) and Wagner Ramos (drums and electronics) conjugates the sonorous verbs of the African diaspora through the experimentalism of Free Jazz and Free Improvisation, developing a dilation of the signs of black culture through zones of intensity, re-signifying the flow of information that marks the plurality of the afro-descendent musical experience.

Diaspora denotes a flexible and dynamic concept of cultural identity. It involves a transcultural consciousness and a sense of belonging that are anchored in human subjectivity. This mobile archipelago of belonging is generated through the accumulated experiences of all Afro-diasporic ancestry and its sonorous, vocal, poly-rhythmic, polyphonic codes that have spread throughout the world in a flow marked by expropriation, genocide, slavery and, above all, resistance and invention.

In a countercurrent to the monopolistic representation of white culture, Radio Diaspora works on material generated through the sonorous polyphony of black cultural heritage, sampling and amplifying references that are added as triggers of energetic approaches in relation to the diasporic epic of black culture. Rejecting submission to traditions and culture as domination, Radio Diaspora uses art as an instinctive force. Music is the weapon – a heavy force field and nucleus of representations and senses. It is a continuous intensity and overload through frequencies, resonances, convulsive and spasmodic flows that bring into play energies willing to exorcise all secular violence through noise.

 

Wagner Ramos:
Drums, electronic percussion module, bases, MPC and electronics.

Wagner Ramos evolved in a profound relationship with black music in all its forms (Rap, Jazz, Soul, Samba). He started out in bars and nightclubs, later joining the Sesc Vila Mariana Repertory Group, and going on to play Brazilian rap with “Jamal e a Máfia do Cabelo Duro,” “Bá Kimbuta e Banda Makomba,” and playing with the singer Yzalu, among others.

Rômulo Alexis:
Trumpet, voice, flute and hand-made wind instruments, bases and electronics.

A multimedia artist, improvisational musician and researcher of creative processes, Rômulo Alexis got into the music of invention in a profound relationship with Free Jazz in the band JazSmetak. He was in the bands DodecaFunk, Experimento Prosótypo and Mnemosyne 5. He is one of the founders of the São Paulo Free Improvisation Circuit. He performs soundtracks for dance, cinema and performance, and is a cultural producer.

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New Release: “Aliquid” by 4zero4

 

Sonic research and experimentation group that does sound/art interventions, creations and performances using musical instruments, computational programing and others technological stuffs.

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The Medula group creates in the field of poetics of sound. The image of marrow refers to a connection between the material and immaterial, from the physical to the psychic, which is inside or behind the external form. The group production consists of artistic works that discuss or use overlapings and crossings of the borders of disciplinary fields. Includes works of music, sound art, and visual arts – in a way that, at many moments, one does not know exactly where one thing begins and another ends

Technical Info:

Video: Medusa
Music: Aliquid – 4zero4
Label: Sê-lo! Netlabel

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New Release: “(E)spécies” by Bartolo

 

SPECIES IN VARIATION
By Bernardo Oliveira

At the end of the first part of “La Mer” (“De L’aube A Midi Sur La Mer”), Debussy emulates the coming and go crash of the waves getting a dramatic effect by almost direct allusion. In this case, the sign operates in the logic of representation, serving as a reference for something else that is not (or is not yet) language.

Taking as an example the sound of birds in Alfred Hitchcock’s classic: instead of natural bird recordings, Hitchcock preferred to use sounds produced by synthesizers that express more than a reference, but an experience of displacement and estrangement. Where you expect the conventional sound of a bird, you’ve got an anomalous noise that intensifies the terror. In this case, there is the sign that appears as a pure expression in itself.

That’s what it’s all about when we hear synthesizers. It seems that we leave the field of safe experience that brings
us the representation, to penetrate, fly over or even excavate a tunnel to a completely unknown and indeterminate
sound territory.

Even though, by now, there is an immense repertoire of recognized and assimilated synthesizer sounds, there are still in this fascinating machines the power to establish new environments of signs, as can be seen in the recent works of Rashad Becker and, above all, Keith Fullerton Whitman.

Since they appear in the musical production scene, synthesizers prefigure an unknown territorial dimension. This effect of continuous displacement, Bartolo knew how to bring forth in his first solo work, (E)species, edited by Sê-lo label from Salvador/Bahia, Brazil.

(E)species has, above all, the characteristic of risking variation, giving up repetition as one of the general trends in
synthesizer music today. Demonstrating technical skills and repertoire of possibilities and articulations, Bartolo structured a sonic continuum full of dynamics, passages, timbres and historical references (the Germanic synthesizer of the 70s for example), opening a consistent – and, perhaps, unlikely – path for the music of synthesizers in Brazil and Latin America.

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Palco do Sê-lo! Netlabel no Dia da Música

Somos um dos 71 palcos apoiados pela Dia da Música em todo o Brasil!! Montamos uma programação imperdível para quem gosta de música experimental, reunindo artistas do Rio de Janeiro e Bahia, ligados ao selos fonográficos Sê-lo! Netlabel (BA) e QTV (RJ).

As atrações confirmadas são: BIU (RJ), Bartolo (RJ), Laia Gaiatta (BA), SeSenão (BA) e o projeto Infusão (BA), de João Meirelles. O acesso é gratuito e os shows começarão pontualmente as 17h.

O Bahia Criativa, a TVE e a Rádio Educadora são nossos apoiadores locais.

Serviço

Oquê: Palco do Sê-lo! Netlabel no Dia da Música

Onde: Forte do Barbalho (Rua Marechal Gabriel Botafogo, s/n – Barbalho)

Quando: 24 de junho

Horário: 17h

Entrada Franca

Evento no Facebook

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New Release: “Solar das Telepatas” by Bakim Hey

Registered during two hot and humid evenings of January 2017 in Vila Anglo Brasileira, city of São Paulo. Solar das Telepatas is a refection and manifesto, celebration of the infnite possibilities of dialogue and the means by which they happen. Fragment of affrmations and negations of the next instant, where the sounds and the absence of them dissolve to (re)materialize in another time and space.
It is also, in its way, a tribute to the beloved bees that inhabit our yard.

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New Release: “Stars Are a Harem” by Micah Gaugh

 

The 13-song suite, “Stars are a Harem” is a warm, metamodern response to Miles Davis’ “Kind of Blue” – music steeped in the tradition of the avant-garde yet the harsh sounds associated with the avant-garde American Jazz music from the 1960’s are softened, made round. With words inspired by the witty romance writing of Cole Porter, and songs that were popularized by Billie Holiday or Betty Carter.

Marion Brown had a record “Afternoon of a Georgia Faun” based on the Debussy “Prelude to the afternoon of a Faun”, recording the lighter side of improvisational jazz… as a mentor to Micah Gaugh he explained that the subtleties of improvised music could make as strong an impact on the ear as the athletic/frenetic tones of the avant-garde. The vocal range is already a clue to that – acrobatics that are not in the usual vein of male singers in Jazz, but in the context of the record virtuoso techniques are accepted as a norm.

The songs were written as portraits about women – not necessarily completely romantic but the audio to a mind-painting that sums up an experience with the individual women in the songs. The songs were recorded in Harlem by tracking the piano first, then looping the piano and editing it into a song format, secondly the vocals were added to the piano and then the drums. When recording the drums language was used such as “play raindrops” or “alter the time of this song by speeding up the rhythm and slowing the rhythm”. The bass was added last of all and Henry Schroy was able to react to the drums after they were placed over the piano and vocal tracks.

Not the standard recording process in Jazz, the record was made first as a solo piano record and then added on to, thus making the process very singular for each musician. This intimacy can be heard, as each of the players has a different and isolated relationship to the sounds and the experience of the compositions. It is almost more of an art project than a recording.

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