This work is an attempt  to recreate the sound memories of the encounters and situations lived and experienced in the journeys between the islands of San Vicente and San Antão, in Cabo Verde
The Ferry Boat provides the transport between these islands carrying and bringing workers, documents, belongings and stories of kinship, rivalries, loves – much of them sung in mazurks, mornas and other local musical genres.
The work was part of a project funded by the Brazilian government and it was one of the
achievements of the policy valuing cultural, economic and scientific partnerships between
Portuguese-speaking countries. It is perhaps important to remember that this project existed during the years 2012 and 2017, a period that preceded the current cultural and political conservative ascent in Brazil.
When I arrived on the island of San Vicente, it was carnival and Mindelo, the capital city,
offered, on the one hand, a version of the Brazilian  Carniva, and on the other, the resistance of an almost tribal carnival of the Mandigas.
In San Antão the experience on my arrival was another. I moved to the rural area and was
surprised by a show of synchrony and rhythm between three women using a large pestle to percussively crush and grind the corn.
San Vicente also has rural areas with small farms and there I came across a windmill and listened to the quiet prose of two workers. This contrasted with the sound eloquence inside the Fish Market of Mindelo, where I witnessed mainly the sound of knives scraping across fish scales.
In contrast, San Antão seemed mysterious and mystical. At the radio station I met a group of musicians who were recording a samba for the Mindello carnival. They began to remember and play many Mazurks and I recorded the whole process, starting from the first tentative versions.

Back in Mindelo, between the carnival and the incursions into the Municipal and Fish Market, I met Seiva, a local rapper who is a respected figure with an important work already recorded. His dream is to leave Cape Verde in order to find a wider audience for his music. With the sounds taken from my trips between the two islands, I created a percussive backdrop for his verses.

about Marco Scarassatti:
Sound artist, improviser and composer, develops research and construction of soundsculptures and sound installations.

Participated with musical pieces or performances of the following festivals:

ISIM Conference (EUA, 2007), Encuentro de Arte Sonoro Tsonami (Buenos Aires 2009 e 2011); Encontro de Música Improvisada de Atouguia da Baleia, o MIA (2013 e 2014), em Portugal, Nova Frequências (Rio de Janeiro,2015), Sôm (BH, 2016), Integraciones (Lima, 2016) e do Festival Tonlagen (Dresden, 2016).

Composed the original sound track to the movies: Pirapora, by Charles Bicalho, winner of the Best Experimental Short Film Award at The Americas Film Festival NY in 2014; O homem-peixe, de Clarisse Alvarenga (2017) and Torcedores, de Edison Gastaldo (2018).

Albums Released: Novelo Elétrico (Creative Sources Recordings, 2014), Rios Enclausurados (Seminal Records, 2015), RUMOR (Creative Sources Recordings, 2015), Amoa hi (Creative Sources Recordings, 2016), Casa Acústica, fragmentos de um improviso-diário (Creative Sources Recordings, 2017), Novelo Elétrico 6 (Antenna, 2017), Hackearragacocho (QTV, 2018) e aguarda o lançamento do álbum Psychogeography pelo selo Nottwo do álbum Antonio Panda Gianfratti, Marco Scarassatti, Otomo Yoshihide e Paulo Hartmann (Novembro de 2018)

 Artist commissioned by the Kunstradio radio station in Vienna to compose the music-video Memory of the Fire(2015), and artist commissioned to create a sound installation Orixás Sonoros to the front of the Hellerau theater (2016).

He participated as an advisor at the Smetak’s inventions exhibition organized by DAAD at the DAAD galerie, also wrote texts to catalog and opened the Symposium Re-thinking Smetak with the lecture called Itinerary of Caosonance, about Walter Smetak, all these activities within the MaerzMusik Festival (Berlin, 2017).

At the end of 2016 he was contemplated by the program Ibermúsica with a prize and order to compose for the Chilean group CEMLA. In 2017, during artistic residence in Chile, composed the music 4 Crónicas acerca de la ciudad y la ancestralidad: Belo Horizonte, San Pedro of Atacama, Valparaíso that released in June, 10, during the Seminario Nuevas Músicas Latinoamericanas, in Valparaiso, Chile.

In 2017 he was invited to participate in Documenta 14 (documenta de Kassel – radio), with the works Rios Enclausurados and Magnum Chaos within the Brazilian radio documenta. Still in 2017, he was invited to participate in the compilation made by Rui Chaves and Paulo Dantas that presented a selection of brazilian artists working with ‘field recording’, the cd called “O tempo entre uma ação e outra” (released by Green Field Recordings).

Wherever the earth is crag and scrub, the goats are there—the black ones, girlishly skipping, leaping their little leaps from rock to rock. I’ve loved their nerve and frisk since I was small.

Once my grandfather gave me one of my own. He showed me how I could serve myself when I got hungry, from the full-feeling bags there like warmish wineskins, where I’d let my hands linger some before bringing my mouth close, so the milk wouldn’t go to waste on my face, my neck, even my naked chest, which did happen sometimes, who knows if on purpose, my mind dwelling all the while on the savory-smelling vulvazinha. I called her Maltesa; she was my horse; I could almost say she was my first woman.

TEXT BY EUGÉNIO DE ANDRADE
TRANSLATED FROM THE PORTUGUESE BY ATSURO RILEY
SHOW CURATED AND PRODUCED BY PAULO RAPOSO

Departing from the reading and performing experience of PO-EX, an ongoing archive of portuguese experimental poetry, this piece explores the mouth and tongue organs as sound tool to engage in an unstable balance between pre-verbal forms and collapsing discursive fragments which bring forward the interstices of language, all with a somehow black humour approach. Portuguese spoken only.

Nuno Marques Pinto is a multidisciplinary artist. He works on theatre, performance and painting, combining these tools to build a singular voice. His work shares a reflection on language and sound and aims to question or highlight the mecanisms of control in contemporany speech.

Paulo Raposo

Nuno Pinto: Voice.
Paulo Raposo: other sounds
Voice recording and editing by Pedro Centeno (parva edições independentes)
Produced and zemixed for Radia.fm by Paulo Raposo

“The sublime revenge of being happy”
composed and conducted by Paulo Chagas
performed by Illustrious Unknown Creative Ensemble

Branching voices
Recognizing the journey through the cypresses
Cold
Far to the city
Away people
(This dance is just for bugs)
Away the sun
Far from a beach of solitary existences
(Woodwind instruments dig a fictitious reunion)
Bitter does not identify
Flying here is the superiority of the dream.
The Swan will never know the silence
There’s also an immense joy
Forgotten between the lines
That makes us shiver
The sublime revenge of being happy

Infinity begins to be a natural thing
The only mystery is life.
Love
Delirium

The free vanishing of ideals
In meditation on the cosmos
Freedom lit
In a huge field of sunflowers
and growing cellos

There is still the sea
The heroic delight of adventure

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PAULO CHAGAS (Portugal)
Composer, teacher and multi-instrumentalist, has dedicated his intervention to several strands of contemporary music, electro-acoustic, ambient, free improvisation, jazz and chamber music. Additionally he works on music production and promotion of improvised music concerts and festivals and also writes for music magazines and blogs. He is artistic director of the MIA Festival and Zpoluras Archives. Along with music, he loves to cook.
http://paulochagas.weebly.com

Memento by Abdul Moimême.

This radio piece is what its title implies: a reminder of persons and past events, which in the present case are autobiographical as well as musical; occurrences that span a period of over 30 years and recede back to some early field recordings I did in Madrid in the early eighties.
It also served as a reflection regarding to what extent composition and free improvisation can overlap. For example, certain sections started as improvisations but were here rearranged in a composed form.
The idea was to choose motifs and work with these much as an engraver might approach a new uncharted etching, unaided by the outline of preliminary sketches, allowing each stroke to freely imply the next. Nonetheless, some sections were specifically composed for the occasion.

Composed and mixed by Abdul Moimême

Abdul Moimême is a Lisbon based musician and active member of the cities free im-provisation scene. His main instrument is the electric guitar. He has also worked as a jazz writer, since 1999, writing in various Portuguese publications such as Flirt, All Jazz and Jazz.pt magazines, as well as the Público newspaper. In 2014 he is nomination in the “6th Annual International Critics Poll”.
He has performed in several projects such as: Hipnótica, IKB, Insub Meta Orchestra, Potlatch, Queixas, Suspensão, and Variable Geometry Orchestra. He has also performed and/or recorded with musicians such as: Axel Dörner, Carlos Santos, Carlos Zingaro, Christian Weber, Christophe Berthet, Cyril Bondi, D’Incise, Ernesto Rodrigues, Floros Floridis, Gale Brand, George Haslam, Heddy Boubaker, Jon Raskin, Ken Filiano, Manuel Mota, Marco von Orelli, Marco Scarassatti, Patrick Brennan, Rodrigo Amado, Steve Adams, Thanos Chrysakis and Wade Matthews.
He has also performed in Austria, Brazil, France, Portugal, Spain and Switzerland.

Mixed by Joaquim Monte at Namouche.

Mestre André: cassete feedback
Paulo Raposo: cassetes, field-recordings and assorted sinewaves

André G Pinto Aka Mestre André:
MA in Musical Arts at New University of Lisbon with a research visit to SFU Burnaby, supervised by Barry Truax. BA in Sound Arts and Design (First Class Honours) at University of Arts London.
Explored rupture aesthetics and theorised on the ‘social and political aesthetics of art and noise’ (“The Territory from Chaos to Noise”, Pinto, A., 2012). Now involved with ecological thinking of the arts practice and aesthetic relationships with the natural and non-natural environments. André has developed work as a Sound Artist, Field-Recordist, Performer, Installation Artist, Free Improviser, Composer and Sound Designer, doing live Sound Design for movies and theatre plays, sound installations and automated/interactive live concerts, amongst other things…
He is a member of the band Älforjs and the ensemble Tratado de Cardew, which has been performing Cardew’s score: Treatise.
Currently his work develops around deep listening as an ecological approach towards sound and music. As a composer he explores the ‘grief of incommunicability’ that exists in the attempt of exchange/comprehension/ communication between the human and humanised world/perception and what exceeds it, developing methods to somehow recreate or relate to the natural environment through the means of sound mapping and sound making.

Rios enclausurados (Enclosed Rivers) is a poetic and political construction of a sound space created by editing the sounds of various streams and rivers which have been artificially channelled in the city of Belo Horizonte. This Brazilian city has approximately 150 km of streams and rivers, a hidden population channelled into true underground dungeons visible only through exposed iron grids in the street. The sonority of this work reveals the existing dungeons in the city. In them, a prisoner is forgotten, the urban project serving to render him invisible and silent. However, when you get close to the grids you soon realize the power and sublimity arising from the idea that, at any time, the river can, with all its strength, break free and decide its own course. It was my first year in Belo Horizonte and, having been influence by the theory of derive, I was taken, one day, by the a sound coming from underground which I heard while walking down one of the central streets. I approached a fence that was in the street and was surprised by what I saw and heard. After that I started paying attention and realized that the whole city had the same type of grids scattered along the street. When I started recording the sounds of the river I positioned the recorder between the bars in the grid – I usually did this alone, and some streets were dangerous. Then in 2012, I started recording with Fernando Ancil, a visual artist friend and we created a sound installation along Avenida Afonso Pena, one of the city’s major thoroughfares. In this installation we created an aerial river using more than 40 speakers arranged at intervals of 350 meters up and down the avenue. The idea was to create an acoustic overflow so as to enable the city to once again hear the river. In Rios enclausurados, released in 2015 by Seminal Records, I composed two tracks from edits obtained from several rivers and streams recorded. I think the pieces do not allow for distraction whilst listening. Move the normative sense of the music so as to interrogate, in an interventionist mode, a way of listening to the city. The tracks carry with them a way of doing and a form of sound audibility which has been divorced from everyday living in the city.

This soundscape composition is divided in two parts and is part of my sound research at the Faculty of Fine Arts in Lisbon during 2013.
Undercurrent is about water sounds and is taken from an audiovisual installation shooting in a river showing a journey between two points A to B, after a deep dive inside an undercurrent river.
InLand is a piece about earth sounds space and matter but also about internal and external space. A representation of different acoustic layers and sound environments. In this piece i processed different noises and samples taken from the interior of the earth. Many recordings with a real buried microphone and other substances like stone collisions, river undercurrents, sea waters, sand, fire, ashes, organic debris, frozen microphones and other deep acoustic phenomenas. It’s also a live improvisation and noise modulation of a boiling experience taken from a portable laboratory set up on stage. For sound processing i used Laptop, Ableton Live, Max/Msp, analog circuits and synthesizers like Mute Synth and Korg Monotron Delay. Premiered at EMS13, Electroacoustic Music in the Context of Interactive Approaches and Networks at CGD-Culturgest, Lisbon 2013.

Fernando Fadigas is an audiovisual artist and noise musician. With preferences for collective works, site-specific projects and sound improvisation, their individual works lie in the relationship of sonic arts and image with exploitation of minimal soundscapes, noise, field recordings and the acoustic properties of certain spacesMember of the art collective “Pogo” since 1998 producing and developing soundtracks for Theatre, Multimedia Performances or Interactive Installations and also curating music and art events.

www.fernandofadigas.com

Pedra, linho e lágrimas (Stone, flax and tears)

It’s an edit made with recordings from the series ‘O Povo que Canta’, directed by Michel Giacometti, that i used for a gig at Associação Recreativa Amigos do Minho, in Lisbon.

The title makes reference to the context of the recordings, all made in places of the Minho region, in the north of Portugal: workers in a quarry, women scutching the flax and a mourner (carpideira).

This piece includes the live recording of a performance by me and Nuno da Luz for the opening of his work ‘Laissez Vibrer’, in Vila do Conde. Together we played a version of James Tenney ‘Having never written a note for percussion’ adapted to cymbals, accompanying a recording of wind.

Diana Combo has a degree in Sound and Image and has been working solo or in collaboration since then, exploring various possibilities for action in the field of sound.

She taught Sound Arts at ESAD in Caldas da Rainha and participated in several workshops, this resulting in the expansion of the practice to other areas, such as the construction of electronic instruments and the exploration of interactive software.

Her performative work includes a project using vinyl records and improvised concerts with Andrea Neumann, João Martins, Ana Veloso, Liz Allbee, Antoine Chessex, Mário Costa, Werner Dafeldecker, Eduardo Raon, Nate Wooley and many others.

Last summer she was resident at Ausland, in Berlin, where she developed a work between performance and sculpture – a visual work that reflects on the sound experience. Currently she is a student of the Master of Musical Arts.

Clouds N 38 42.53, W 9 8.96 27-12-12
Pedro Lagoa – laptop, 6DE
André Avelãs – electronics

(rehearsal for the When I Look at the Clouds I See Clouds [nimbostratus] performance that took place at Galeria Boavista, Lisbon, 28th Dec. 2012)

Taking as a starting point the intention of deconstructing the video [a cut through the] archive of destruction, this performance combines real time sound improvisation with a random video projection.

Elements of the video [a cut through the] archive of destruction were reduced to small segments which were divided into text and image video clips, to be played randomly from two separate sources projected on top of each other, and thus superimposing text on the video images. This way, the relation text/image is determined by pure chance, destroying not only the line of thought that presided at the narrative structure of the original video – with its calculated collages, sequences and juxtapositions of image-sound-text of different
proveniences – but also originating new and unpredictable image-text relations.

The sound of the original video segments was also split into small segments and loops, being subsequently reworked and transformed live during the performance. As images succeed each other in the projection, the performers try to respond to the random image-text combinations, through improvisation.
–
[a cut through the] archive of destruction is a video, of variable duration, that is part of the Educational Service of the archive of destruction, and consists of collage and editing of diverse materials which can be found in its collection. Through subjective associative lines, it performs a cut, in the geological sense, through some of the main ideas contained in the archive.
The video has been presented as part of installations of the archive of destruction and in a similar way to the archive, it develops in a process of continuous change and re-editing, never having the same cut of the video been presented twice.
–
The archive of destruction is an evolving structure, with no fixed address, dedicated to the collection of documents on actions and ideas that represent a negation of its basic function, which is the preservation of memory.
The archive has been developing in a continuous and organic way, in a movement of expansion that stretches to the most diverse areas – within well defined guidelines – where ideas or actions of destruction can be found.