New Release: “(E)spécies” by Bartolo


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of possibilities and articulations, Bartolo structured a sonic continuum full of dynamics, passages, timbres and historical references (the Germanic synthesizer of the 70s for example), opening a consistent – and, perhaps, unlikely – path for the music of synthesizers in Brazil and Latin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.



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.


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


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.



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.



New Release: “Exílios 1” by George Christian

This album is the first part of a trilogy that will be released by Sê-lo Netlabel and a conceptual introduction of everything that’ll permeate the journey of its listening experience. In it, instrumental pieces live side-by-side with (anti)songs for the sake of the diversity of routes.

EXÍLIOS 1 is a vocal and instrumental work whose main basis is George Christian’s acoustic guitar, but with diverse instrumentation and variety of local and foreign guest musicians, thematically speaking about the trans-territoriality as an existential condition.