21.5.2015
artwork by Márcio Matos

O incontornável clube Lux recebe-nos no mês de Maio. DJ Nigga Fox, DJs Maboku & Lilocox, DJ Marfox e DJ Firmeza vão ajudar a espalhar o calor após o concerto de Dean Blunt, nessa mesma noite.

The awesome Lux club welcomes us in the month of May. DJ Nigga Fox, DJs Maboku & Lilocox, DJ Marfox and DJ Firmeza will help spread the heat after the Dean Blunt show that same night. Black metal.

IMPRIMIR 21 maio lux_NET

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O nosso amigo Noah Lennox fez uma selecção de favoritos para o Gorilla vs. Bear e incluiu Niagara. Cliquem no scan abaixo para ler o artigo completo e ver o video de Niagara.

Our friend Noah Lennox selected a few favourites for Gorilla vs. Bear and included Niagara.
Click scan below to access the full piece and watch Niagara jamming.

Niagara video

By Panda Bear

This is another local group that i like a lot. I first saw videos of theirs as promotion for one of the Principe nights and liked how they grafted with the music. They’ll have a new 12” record coming out soon but for now check out this video which shows them playing together. i like the performative aspect of the music and how theres actions and reactions to the playing.

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Cliquem no scan abaixo para ler o artigo completo e ouvir a mix de BNM.

Click scan below to access the full piece and listen to BNM’s exclusive mix.

BNM_Mixmag

By Seb Wheeler

Blacksea Não Maya are a three piece who release music via Lisbon’s Príncipe record label.
The imprint specialises in bringing together artists who are based in the city and has been responsible for introducing key DJs like Marfox, Nigga Fox and Firmeza.
But Príncipe is now bringing through a new wave of young guns who all want to take the upbeat, frenetic and raw sound that the label is associated with to the next level. Among them are Nidia Minaj and DJ Lilocox as well as Blacksea Não Maya – brothers DJ Noronha and DJ Kolt, 21 and 22 years old respectively, and their friend DJ Perigoso, 17.

They all live in the Cucena neighbourhood of Lisbon and, as you might guess from their ages, they’re still at school, with the exception of Noronha, who has just finished his studies and is now concentrating solely on music. They began making music as a group in 2009 and linked up with Príncipe in 2012, joining the label’s bustling ranks of fresh talent. They’ve individually put out tracks on the 2013 EP ‘Piquenos DJs Do Guetto’ and their collective work as Blacksea Não Maya can be found on SoundCloud, where a flurry of uploads showcases their style, which draws influence from batucada, batida and tarraxinha.

“We dream of being world famous, recognised by our work, and we know that to attain our goals we have a long journey ahead of us that will demand full dedication and effort from our side,” Kolt tells us over email. That journey begins with ‘Afro’, Blacksea Não Maya’s contribution to ‘Cargaa 1′, the first of three EP compilations featuring Lisbon artists that are being released on Warp. Plaintive strings and bubblin’ percussion define the track, which sounds like the Lisbon equivalent of one of the more emotional Ruff Sqwad instrumentals. And it sticks out because it veers away from the fierce energy of the rest of the EP, which also features the group’s peers from the city’s scene.

“As I see it, Lisbon right now shows its cultural diversity through music,” Kolt says. “For us that is also a way to let off stress, as music sets us free and makes us go beyond, the imagination [of it] takes over our bodies. It would be great if we could live every day on the festive ambience of Lisbon.” Hot nights, hundreds of people spilling out from bars into the streets of the Bairro Alto, the charged monthly parties that Príncipe has started throwing; these are some of the things that adds to that ambience and which feeds directly into the work of Blacksea Não Maya, who feed directly into one of the most exciting dance music movements going.

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Edição de Maio de 2015.
May 2015 issue.

Wire Cargaa_P009

By Robert Barry

Over the last few years, thanks partly to the patronage of the Unsound festival and Philip Sherburne’s columns for Spin, a scene that was once confined largely to the clubs and housing projects of the Portuguese capital has begun trickling out across Europe. With this first of two compilations on Warp, that wild and wigged out cat is leaping determinedly out of the bag. Aggressive yet playful, rhythmically tumultuous yet infectiously danceable, the five tracks gathered on the first volume of Cargaa bear comparison to early grime – all clattering FruityLoops beats and syncopated square waves bum rushing the stage with the pent-up energy of overstretched rubber. In place of grime’s reggae connections, however, Lisbon’s young producers supplement Luso-African dance genres like Angolan batida and Cape Verdean funaná.
“Take Off” by DJ Marfox kicks things off with a Latin clave rhythm, followed by a series of progressively more urgent sirens and tom toms until a four-to-the-floor beat drops with saucer-eyed gusto. The two standout tracks, however, are a little more laid back, though just as intense. DJ Lycox’s “Good Wine” drafts fragments of parping sax and female vocal cooing, as if from some late 1980s slow jam, over a beat so rattling and off-kilter that it sounds like a bag of percussion thrown down a flight of stairs. DJ Nigga Fox’s “Lumi” dispenses with almost everything bar a cascade of cinematic sound effects and a set of rhythms so heavily swung as to teeter on the brink of collapse. “Lumi” first turned up on Nigga Fox’s SoundCloud page two years ago, around the time of his first EP on the Lisbon label Principe Discos.
This month Principe drop his second 12″, Noite E Dias (Night And Day). These latest four tracks see the Angolan born producer getting hi-fi, with
the thunderous timpani and whooping synth-flute of final track “De Leve” even recalling the widescreen exotica of Les Baxter. Elsewhere, “Tio Kiala” finds Nigga Fox stretching his rave muscles with quick fire acid squelches and hoover synths over hardcore snare shots. “Um Ano” and
“Apocalipsiii” are closer to the loose-limbed minimalism of his previous record, but with far more layers of textural, polyrhythmic complexity. Aside from this careening syncopation, what sets Nigga Fox’s tracks apart is his deft manipulation of space – one moment claustrophobically boxed in, a second later we’re sent drifting through yawning chasms.

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Cliquem no scan abaixo para ler em contexto.

Click scan below to read full piece in context.

RA_CDM_NIDIA

By Angus Finlayson

As could be expected, Malucos De Raiz is vibrant and slippery. Tempos duck and dive, dropping to 100 BPM for a couple of seductive tarraxo numbers. “Safadas Da Noite” is particularly arresting, its slinky beat cloaked in sinister reverb. Melodic moments sometimes stand out, as with “CDM A Comandar”‘s fidgety marimba line, or the synth-horn that hammers away at a single note on Maboku’s brilliant “Laranjas.” Mostly, though, the drums—those rolling, gravity-defying grooves that make the Lisbon sound so distinctive—steal the show.

Nidia Minaj is something of an outlier, having moved from Lisbon to Bordeaux when she was 14. Her style, as represented on Danger’s eight colourful tracks, exists in its own parallel world. With the exception of the tumbledown “Aidin,” rhythm takes a back seat to synth work: pristine chords “Afro Master,” weird, rubbery leads on “Estúdio Da Mana Na Casa,” weepy synth-strings on “Sentimentos.” Structures can be volatile, and Minaj often sets up strange, unstable combinations. “Mambos Fudiz”‘s neck-snapping beat contrasts with the slivers of trance synth hovering uneasily up top. On the darker “Limite,” similar synths take on almost Hoover-like qualities. These elements are brought together most effectively on “Puto Iuri,” but it’s equally fun listening to them jostle for supremacy elsewhere.

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