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).



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.



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.





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


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.



Novo Lançamento: ‘Malva’ de Löis Lancaster

O carioca Löis Lancaster é, atualmente, um dos mais proeminentes compositores microtonalistas brasileiros. E não é por menos; é importante ressaltar o reconhecimento internacional obtido no ano passado pela sua “Sinfonia do Ocidente”, premiada com o primeiro lugar de composição xenharmônica (ou microtonal) pelo site UnTwelve.Org. Mas o passado dele não nega, pois sua carreira, desde meados dos 1990, sempre se pautou por um interesse pelas sonoridades mais progressivas aliadas a um humor mordaz e imaginação pop fora das convencionalidades, deliberadamente underground – ou melhor, udigrudi. Não à toa, foi baixista e vocalista de uma das bandas mais singulares e criativas em todo o rock brasileiro: Zumbi do Mato, que combinava uma sonoridade tão rogressiva/experimental ou jazzy, quanto punk ou funk com letras tão hilárias quanto mórbidas, sarcásticas e críticas, ficção-científica e um surrealismo eletrônico-experimental digno de um Residents. E um detalhe: apostando na formação teclados, baixo e bateria. Sem guitarra, senhoras e senhores!
Entretanto, a aventura de Lancaster aqui no Brasil tem um respaldo estético especial pelo fato de podermos perceber uma linha de continuidade natural de linguagem musical progressiva com a canção dodecafônica e a fissura narrativa pelos comic books de Arrigo Barnabé. Se a sua antiga banda já flertava com o pós-tonalismo dodecafônico sem soar demasiado “cerebral”, Lancaster, solo e solto, encontrou um passo adiante no sistema de temperamento Bohlen-Pierce – que não tem oitavas e só utiliza harmônicos ímpares, indo além dos 12 tons do padrão de temperamento igual consagrado pela música ocidental. Mas a estética microtonal de Lancaster só é alienígena para quem não tem ouvidos habituados às sonoridades mais experimentais – ou, simplesmente, ocos e preconceituosos.
Ou melhor, ele procura ressignificar não exatamente essa tão desgastada MPB, mas a própria tradição da canção urbana brasileira dando a ela uma necessária injeção de contemporaneidade e inteligência. Por mais experimental que seja, Lancaster é carioca da gema. E também universal. Afinal, podemos ouvir na música dele a influência de Frank Zappa, King Crimson, krautrock, pós-rock e também de Noel Rosa, Fernando Pellon (o sambista que criou o incrível álbum Cadáver Pega Fogo durante Velório) e Tom Zé (Ops! Um baiano-paulistano tropicalista…?). E extramusicais também: além do cinema e dos quadrinhos, há ecos literários das crônicas de Stanislaw Ponte Preta e dos contos-reportagem marginais de João Antônio. Uma sonoridade que, sobretudo, passa ao largo do bucolismo bossanovista e também da usual estrutura comercial da canção popular.
Por tudo isso, Malva é um trabalho que representa uma culminância de maturidade e sofisticação de seu autor. Isso não significa que a predileção estética pelo terror ou a ficção-científica foi abandonada. Lancaster faz com este
álbum não apenas um tributo contrapontístico tanto à sonoridade gótica e synthpop dos anos 1980, mas também aos trípticos de Francis Bacon e ao filme “Os Pássaros” de Alfred Hitchcock. Como Arrigo Barnabé, Lancaster tem uma
especial predileção pela voz feminina, apesar de ele cantar também, tomando a voz principal na abertura incrível de “Aflição”. A sonoridade deste álbum, tanto vocal quanto instrumental, é predominantemente pianística, eletrônica,
sintetista, mas muito rítmica – é dançar para também pensar. “Ornitofrenia” (que significa “espírito de pássaro”), faixa escolhida como single e uma parceriacom Felipe Zenicola – que manipulou a eletrônica na parte central da estrutura composicional do tríptico instrumental – representa e resume a criativa simbiose de Lancaster ao incorporar métricas irregulares e rebuscamento estrutural a um gosto tímbrico eletrônico nitidamente influenciado pela já referida sonoridade dos anos 1980. Afinal, como o próprio autor nos diz, “Se o álbum falasse, diria que ‘os anos 80 é que são uma prévia dos 10’, e que ‘o gótico está apenas começando’.” Puro futurismo paradoxalmente anacronista. E, em Lancaster, microtonalismo É o futuro em nossa contemporaneidade.

Malva não é um disco simplesmente de puro experimentalismo estético, no entanto. Há surpresas e irreverências tanto narrativas quanto musicais em seu universo que requerem não somente uma única e simples escuta. É um trabalho vibrante, vital e deveras instigante. Talvez, se o som tivesse propriedades gustativas ou olfativas à aventura de escuta que este álbum representa… teria um gosto ou cheiro de malva. E por que não? Transcenda as sensações, abra seus ouvidos e não se arrependerá, caro ouvinte.

George Cristian Vilela Pereira




Single Micah Gaugh

Artista Nova-Iorquino Avant-Pop, Micah Gaugh anuncia novo álbum e lança single pelo Sê-lo! Netlabel.


O artista nova-iorquino avant-pop Micah Gaugh anuncia o lançamento de novo album Stars Are a Harem no dia 12 de maio 2017. Antes disso, ele apresenta o primeiro single do álbum. Remembering é uma balada tranquila, minimalista e espaçosa, descansando numa cama de jazz.

Stars are a Harem é uma resposta moderna ao disco Kind of Blue do Miles Davis, onde a música está imersa na tradição de vanguarda, mas acessível ao ouvido público graças a técnicas de gravação “pop” que suavizam os sons ásperos associados ao avante-garde americano da década de 1960.

Nascido no Panamá, Micah Gaugh passou a maior parte de sua vida adulta no East Village, New York, levando-o a muitas aventuras através da música e das artes visuais. Micah Gaugh tem colaborado, ao vivo e no estúdio, com dezenas de renomados músicos, incluindo Lady Miss Kier de Dee-lite, John Zorn, Cecil Taylor, Bootsy Collins, Meshell Ndegeocello, Burnt Sugar, DJ Logic, Thurston Moore, Lauryn Hill, The Roots, DJ Spooky, Vernon Reid of Living Colour.

Stars are a Harem está disponível para pré-encomenda no Bandcamp do selo Sê-lo!, aonde o single Remembering já está para streaming.