artwork by Márcio Matos

Regresso de DJ Marfox e Niagara à nossa residência, junto com outros habituais mais júnior como DJ Ary e DJ NinOo. Sempre na procura, programámos a estreia na Noite Príncipe de DJ Tonilson, um dos nomes incluídos no CD “Mambos Levis D’Outro Mundo” com o nome DJ TL.
Festa no  Musicbox na baixa lisboeta.

Return of DJ Marfox and Niagara to our residency, along with junior staples DJ Ary and DJ NinOo. Always on the lookout, we’re bringing DJ Tonilson for his debut at Musicbox. He recorded as DJ TL one of the 23 tracks included on the “Mambos Levis D’Outro Mundo” CD.
Party at Musicbox in downtown Lisbon.




Nervoso likes his percussion, and doesn’t need much else, as the six songs here, clocking in at 20 odd minutes in total, are wonky unsettling rhythmic workouts with minimal extraneous ingredients. Occasionally there’s a hilarious repetitive vocal sample saying “Ah Ah,” such as on ‘Ah Ah’, a bit of bass here and a siren there, but in the main, it’s percussion, sampled hand percussion and electronic beats. Most of his sounds feel culled from a techno music sample library, though whilst Nervoso is no doubt tipping his hat to this world, his stuttering beats, odd cadences and peculiar time signatures, alongside colliding, near incongruous rhythmic patterns keep everything joyfully off kilter and uncertain.

The most interesting piece is the final ‘Kuia,’ and it’s also his also his most diverse, and though it barely gets above a canter, the beats evolve, swing, and even the implementation of some strange pitches of sound that are vaguely reminiscent of farmyard animals from kids keyboards still manages to end up with this really seductive stilted groove. Like much of Nervoso’s music it almost feels like a challenge he’s given himself, by beginning with a cold difficult near grooveless snare, then it’s up to him to slowly breathe life into the track. And it’s incredible how Nervoso and many of his compatriots seem to be able to make challenging fascinating and unexpected dance music from the simplest of ingredients.

This is the kind of music that makes you wonder if you’re playing it at the wrong speed, it’s a deconstruction of electronic music, where it has been disassembled and pieced back together a little wrong, leaving the listener feeling more than a little bit, confused, energized and Nervoso.



More Lisbon butter from the ever trail blazing Principe. Niagara use their EP to push further from any recognisable house template out into jazzy syncopation – it’ll be interesting to see how far and wild they can take this new direction. But for me the real killers come from Nervoso; he’s one of the most underrated DJs on the planet, and these 5 grooves tell you everything you need to know. There’s hardly anything to them- just sets of Fruity Loops drum patterns marching on and on in with zero fucking about. He’s barely bothered to process his hits, there’s a minimum happening at any point, and somehow the result is hard, knocking dance music that could wake the dead. If you’re getting sick of fussy production and tracks built from tricks more than ideas, Nervoso is the antidote.



Depuis son premier EP chez Príncipe en 2013, le trio Niagara occupe une place originale au sein de la scène portugaise actuelle : à travers des sorties disséminées sur son propre label Ascender ou sur Príncipe, Niagara développe un son aux rythmiques carrées et aux sonorités funky. Après une série de CDr cette année, les trois acolytes reviennent avec un nouvel EP quatre-titres, qui marque une évolution de leur son. São João Baptista introduit ainsi de nouvelles influences dans la musique du trio : on trouvera des réminiscences jazz dans les notes égrénées de clavier d’un «Asa» se rapprochant de Tortoise, ou des inflexions presque krautrock dans l’excellent «Amarelo», porté par une basse puissante. La répétition règne en règle, emportant l’auditeur dans des cercles sans fin sur lesquels se greffent progressivement de nouvelles textures, de nouvelles nappes : «IV», probable sommet de l’EP, s’apparente ainsi à un exercice de style provoquant un progressif dérèglement des sens, autour d’une mélodie insistante et lentement modulée. «Laranja», étrange écrin percussif sur lequel se superposent des touches vaporeuses, s’impose finalement comme conclusion idéale d’un EP intrigant et original, qui témoigne – si cela était encore nécessaire – de la vitalité de la scène portugaise actuelle.