Power trio of psychedelic, noise and free improvisation with Hernâni Faustino on electric bass, Jorge Nuno on electric guitar and João Sousa on drums start from an handful of screams and monochromatic stripes, to create explosions of color, travelling from psychedelic moods to extremely loud explorations, expecting nothing but the present dimension and its capabilities to reach all the other ones.
SIGNS OF THE SILHOUETTE
Signs of the Silhouette is a project that connects sound exploration with video. Music is developed throughout the study of image in loco by improvisation.
Very influenced by the reading of texts about Phenomenology and Aesthetics, the making of this band started with a dialogue about the possibility of converting sound into image and vice versa.
The complete disconnection from primary experiences was their starting point. "How do you feel a car motor or the rain hitting the street in sound? How does it touch you and how to answer musically to it. We are mainly receivers when we should be translators."
In a show their act of music is answered with reactions to a video projected in the musician body. Therefore the one that plays becomes the visual support of an image interpreted by musical improvisation.
Video and sound work together, while the act becomes a dialogue between a body transmuted lived image perception in loco by a musical, gestual, reactive and spontaneous response.
Dead Vortex is a black hole (better still: it’s the vortex created by the centripetal action of a black hole) where psychedelics mixes stoner, prog with post-rock and jazz and experimental improvisation. Always with a jamming approach, in search of structures and forms echoing Tibetan mantras and Indian ragas as much as the lost “garage” factor of the guitar bands in the Sixties and Seventies. In the middle of all this, if something reminds us of Miles Davis in the “On the Corner” period, immediatly, it gives place to the desert emanations of Kyuss, the hypnotic kraut metrics of Can or the timbric abstractions distinguishing AMM in the domains of exploratory music.
Everything comes with intent and everything is devoured by the implacable wilfulness of pieces which are crude but also rich in parameters (rhythm, harmony and melody versus noise, noise and more noise), with sonic elements shooting in several directions – as if Morton Feldman composed under the effect of amphetamines and his references were on punk and not on Schoenberg and Webern. In the present edition, divided in two parts, “Event Horizon” and “Redshift”, what we hear under a first impression is energy. Contained or in full blast, it’s the different degrees of cosmic energy, channeled by the bodies and minds of Luís Guerreiro, Jorge Nuno, André Calvário and Pedro Santo (the first and the last being members of the electric jazz group Peixe Frito and the ones in between coming from the psych rock band Signs of the Sillhouette), which converge in what Roberto Assagioli called Supreme Synthesis.