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Deez nr 3 Editorial Protests against the government in Portugal, or for that matter in any part of the world, are hardly a novelty this days. But this one earned its spot on the world news. And it was not only by the considerable presence of police officers among the protesters, for once raising their number on the right side of the barricade. The news focused also on other forms of protest being used by Portuguese citizens against the extremely taxing austerity measures imposed by the government. Namely, singing. Music as a form of protest as never really been absent from national protests. But rarely as it been used to such good effect. The group responsible sang the classic protest song “Grandola, Vila Morena”, the song used as a code sign to trigger the 1974 revolution, to basically shut up the Prime Minister Pedro Passos Coelho during an address in Parliament. And they used it further to shut up half-dozen other Ministers at public events. I for one was very happy to know that you can actually shut them up, even if only temporarily. This is good. If I have a gripe with this, is in the song used. Although I probably could not have come up with anything better, I cannot help but feel a little sad with the choice, since it was, like I mentioned, the calling card of the 1974 revolution. A revolution that succeeded in freeing the Portuguese people from intellectual slavery, only to throw them into financial slavery. Don’t get me wrong, I’d rather have things as they are now, than as they were before. But one must nevertheless realize that the revolution was, in the aftermath, incomplete, since the new found freedom was ultimately used by unscrupulous and corrupt politicians and businessmen to make themselves rich off the tax payers money, leading in the end to the situation in which we find ourselves now. We have come full circle. Of course the composer, Zeca Afonso, cannot be blamed for that. And maybe, exactly because we have come full circle, it is still strangely appropriate. Lately I have not been to keen in participating in peaceful protests, even if I have attended a few in my time. And it’s not because I’m a violent protester either. But I’ve become increasingly convinced that the only way out for this situation is in absolute civil disobedience. But I’m a minority. In the words of Pedro Passos Coelho, I am, like the brave singers group, just a tree “...and a tree is not a forest”. What you seem to forget Mr. Prime Minister, is that it only takes one tree to catch fire for all of the forest to go. Beware of minorities. Our patience is limited. But I do hope the group continues with this form of protest. It proves that music is truly a weapon. Maybe in the future they can throw in a few rock concerts in front of the Prime Minister’s house. Now that would be cool.

IVO CAIRES BELLO Editor


“And those who were seen dancing were thought to be insane by those who could not hear the music.” “Friedrich Nietzsche”

Deez mag


On a cold night in Leça da Palmeira, we met Miguel Moreira, MC in “Mundo Secreto” who are about to launch their third album, a more danceable approach to their music. 3 MC’s (Miguel Moreira, Diogo Moreira, Durval Nunes), guitar (Nuno Melo), keyboards (Duarte "Sistema" Dias), drums (João Rebelo), a guest bass player (Tomás Marques), make music to be heard and also danced, that people can really have a good time listening to! DeezMag: “Mundo Secreto” has been around for some years. Could you tell us the path you’ve run so far and its importance in your actual work? Miguel Moreira: We started in 1999 with few resources and a strong will, just 4 MC’s and a DJ, and tried to find new sounds, new musical potentialities, overall we tried to build a career with a well made path. We really wanted to build something true to us, but with real musicians playing real instruments. In 2006, we recorded a well accepted three songs demo that air played in a major radio station, and things began to roll. “Universal” signed us, we launched our first album with successful singles, “Chegamos à party”, “Põe a mão no ar”, “Põe aquele som tão bom”, and had a fantastic two year tour. In 2009 we managed to launch our second album “Soa o Alarme” with its quite successful single. We kept together for the love of music and “Mundo Secreto”.

DeezMag: In your path, your music has grown from a more “pure” hip hop into something built in a different way. Can you tell us how that maturing process was to you?

MM:

Sometimes I wonder about it. Hip hop is our starting point. I see it as an attitude, a

http://www.facebook.com/mundosecreto movement, a way of being and making things, to us it's a way of expressing through music. It’s a culture that imports what’s happening, what happened or the trends. We took the rock band concept and brought it to our more crude world. The musicians brought their influences, tastes and contribution to what “Mundo Secreto” is, a group with no musical barriers or boundaries. “Hip hop invents nothing, hip hop reinvents everything”, that’s our spirit. We are hip hop!

DeezMag: We can notice in your songs a certain lightness. Do you think it's important not to stay in the hip hop cliché but adapt it to the life you live? MM: We have a certain background and don’t want to forge what isn’t our experience. “Mundo Secreto” is about friendship, sharing, union, the power of the collective but also social intervention, there are times in our life that you have to make a statement about what’s happening, that we notice that something’s wrong and we care. That’s also in our genes!

DeezMag: “Mundo Secreto” is about to release a new work, we had the privilege to listen to a part of it. What should we expect? What does it mean to you? M.M: The new album is a nice surprise. We are quite excited about it. We feel that we’re doing quite a positive work. The first album was about our transition from adolescence into young adults, in our second album we also wanted to put our feeling, good vibes, party and songs with a political or social content. In this new album we wanted to change. We’ve always loved the electronic thing, and we like to unite those two worlds, having a band’s rock’n’roll spirit with the hip hop’s pitch and snare over the drums. Merging the force of a band to the electronic dynamics and power. The Lyrics will be about relationships, it can be love, sometimes attraction or euphoria. One example is the song “Néons e lasers” that tells a story about two very different persons that don’t resist looking at each other. In “Leva o meu mundo”, the first single talks about love, the way it has to be, that momentary attraction, the caption of that moment. “Rave and Roll” is about the band’s spirit, mixing rave and r’n’r. This more danceable record adds a universe that we hadn’t completely explored. We’ll play the new songs and the old ones that our audience already knows but in a new approach. We’ll present a different concept, a new kind of show. We are also planning to reach out to people through the social networks, have a more direct contact with our target audience, in the universities, high schools, but also with our faithful fans! We hope we’ll give a bunch of concerts! PEDRO FARIA


THE ONLY WAY IS UP Greetings everyone! I have committed myself this time into writing something positive, something cheery. I am quite aware my latest posts have been somewhat dreary so I decided to anticipate springtime mood: Nevertheless it is useful to realize we are facing a very serious worldwide crisis - be it a social, cultural and of course - a financial one. This is where today's article title steps up: the bottom of the pit is the only place one is sure to do well (pardon the pun); Once you have gotten as low as as you can go, the only way is up. Historically speaking, the worst times society has had - financially speaking - were the most active and rich in terms of cultural production. Even in times of dictatorship, of repression and and hard times, when regimes shove propaganda and happy meal pseudo-art down your throat, true artists strive and eventually overcome. We are coming close to a crisis as nasty as the wall street crash in the 20's, which we all know was a prodigal period concerning art. However, we also remember quite well it was the period which anticipated World War II - let us hope history does not repeat itself this time. Having this remarked, I now turn my speech directly to every artist out there: This is the time, my friends! This is the time to create myths, to create legends! Even though you may be close to starving, even though people have to choose between bread for the gut or bread for the soul (as the payroll can only stretch so much), even though every television stubbornly insists on shoving piles of chewed up cheesy entertainment instead of supporting interesting new artists - this is the time! Persistence will pay off, I am sure of it. So whenever you feel down and murk, as I often do, remember you are not alone. We shall overcome. Once we reach the bottom, the only way is up. (Yet, the true question is: have we actually reached the bottom?)


GANESH AND KUMARESH Violinist duo and brothers GaneshKumareshareamongtheforemost classical musicians in India.Trained by their father, veteran violinist T. S. Rajagopalan, they have played together for over three decades, since their first public performance— when Ganesh was five and Kumaresh seven. By the timetheyoungerbrotherwasten, theyhadcompletedoverhundred performances. They have since collaborated with some of the country’s best musicians and won some of the most coveted awards and acclaim. You' ve be en credit e d with popularizing Indian classical music in India and abroad. What is it about your music that connects to so many people? The credit for this goes largely to our guru, our father. Although our education was purely classical, and heavily theoretical, he always told us that after the lesson was over we should play what we like. This freedom to play, experiment and improvise right from the beginning has, over the years, evolved our playing style such that we are equally at ease playing in a purely classical style, or experimenting with form and collaborating with other artists to make our music more contemporary.

What projects are you planning on working on in the future? Every performance is a new project for us - we like to treat each concert differently - adding and changing layers and fresh movements, introducing a new raga, sometimes playing an old raga differently.

(A raga is a series of five or more musical notes upon which a melody is constructed – In Indian classical music, each of the six basic musical modes express different moods in certain characteristic progressions, with more emphasis placed on some notes than others). We've also been working on reviving the purest form of instrumental music (Raga Pravah), in which we have composed many simple melodies based on the pillars of Indian classical music, the raga and taal (rhythm) We will often try out a new composition in a concert, in between longer sets. Our approach and practice of Indian classical music, at least partly, stems from a desire to change the way Indian classical music is perceived among the youth. We want to recreate the pride people once had in it. We want youngsters to identify with it, and understand that it can be cool and classy. We have seen the music scenario evolve over so many years. Earlier music was categorized as classical and non-classical. Now it has become filmy and non-filmy. After almost 40 years of being on the scene and watching the greats, and understanding the history of the art form, we are disappointed when our music is sometimes categorized as 'ethnic music', a tag which does not sit well, given it is one of the oldest, most dynamic forms of music. So bringing the pride back is one of our biggest projects.

Maestros and greats the world over, from A.R. Rahman to Ustad Zakir Hussain have raved about how excellent it is to collaborate with you. What do you look for in a collaboration? At the heart of it is the tonal quality of the sound that is generated, which inspires us. We love collaborations where there is give and take. We love to just sit down and understand each other, and jointly enjoy and perceive the vibrations. We look for collaborators like Ustad Zakir Hussain and A.R. Rehman, where we feel so much love towards us, and this takes the music to another level. But since you asked about new projects, our latest project involves reinterpreting ragas for the six seasons. Traditionally, each season has a defined raga, we hope to collaborate with musicians the world over, to reinterpret and play them in other ways. OIJO! MEDIA http://www.ganeshkumaresh.org/ http://www.facebook.com/FiddlingMonksGaneshKumaresh


SOL DRIVEN TRAIN Sol

Driven

Train is well known for their zany costumes, kind hearts, and killer live show. Their dedication over the past decade inspires critics, other musicians, and fans alike.

When you are on the road, do you break for outdoorsy activities?  

JT:

We try to experience the different locations. Being outside helps to combat the nightlife style.   We have standup paddleboards and boogie boards. And we’re always up for hiking. WP: Out west is a lot of fun. We’ve whitewater rafted and done some skiing and hiking out in Colorado.

How many days a year are you on the road?

JT: Somewhere between 150 and 200.  And then add in some travel days in there.

Is it difficult managing personal versus professional with all the traveling?

JT: That’s the number one challenge with this job.  But we’re fortunate enough that design our schedule collaboratively. We’ve got a really good booking agent and he really listens to all five members of the band. We build the schedule how we want it, schedule time off and try to be effective as we can when we’re working.  

Are you writing and arranging songs on the road?

JT: We try and practice on the road. It’s great when we can do that. If we’re staying at a friend’s house who has space for us to set up in a garage or something and we have a day off, that’s a really effective use of our time. Then we get one more day

off that we don’t have to see each other when we’re at home.

Do you spend time together when you are home? JT: Wes and I have been living together for the last three years. Ward and I play gigs together on a regular basis. Wes also plays with Rusty. So, we’re still involved in each other’s lives. There’s a lot more to the business than just being on the road and playing shows. At home, all of us are still either mailing out posters or CDs or talking to the agent or working with the publicist and stuff.  We’ve got to communicate!

Do you use social media as a form of communication?

JT:

Well we just heard about this thing called myspace {laughter}. Not really sure what it is, but I think it’s going to be the next big thing. We do use all social media. It makes it possible for independent bands to share their music globally and that wasn’t possible twenty years ago.  But, it’s also over saturated the market. It’s hard to separate yourself from all the noise.

WP: You just have to be crafty with the way you deal with those mediums nowadays. There has to be something about your act, about your art, that sets you apart.

JT: Yeah, it's content.  

Do you think your lyrics set you apart?

JT: Part of it, meaning the writing is earnest. The songwriting is from the heart. It hopefully puts us in line with the tradition


of honest songwriting.  Bob Dylan was a folk musician, but then started singing about his heart, in addition to telling stories and protest songs. We want to be in line with that tradition. We write about real life personal stuff, but then some nonfiction biography and historical stories.

Lyrically, what on the Watermelon EP brings you great pride?

How would you describe your fans? They’re all over the place and a wide age range. Most of ‘em tend to be a little bit of oddballs who have an eclectic taste. Like us. But they are dedicated and totally loyal. We’ve got a lot of unofficial sponsors, a lot of people that help us out along the way.They feed us and let us sleep at their house.

Not only do your fans regard you highly; but also other

JT: I think the last song.  I’m really proud of that song. Ward bands sing your praises. Anyone you would like to give and I wrote that song together and we haven’t done a whole lot of co-writing. Generally one or the other will bring a full lyric to the band and then we’ll arrange it. This one we wrote collaboratively. I also think Ward’s piano playing is really nice on it.  I’m proud of it as a song, as well as a performance in the studio. It has a good feel.

WP:  The overall sound of the album just sounded really great. That particular EP we jumped more extremely to different styles than we usually do and what we captured in each style was what we were trying for. The arrangements on those tunes really brought each song to its highest potential. You are working on a new album Underdog? Is the style similar to the Watermelon EP?

JT:

No, Underdog is a little more serious than Watermelon. Watermelon definitely shows our zany side. Underdog still has a pretty eclectic sound, but it reminds me more of Lighthouse with some acoustic songs, some more pretty songs. Ten songs, to be exact...songs about love and heartbreak and scrapping against the odds. It’s fairly concise; but there are only a couple songs that really stretch out and sort of jam instrumentally. Also, our fans, in essence, sponsored it with our Kickstarter campaign. and raised money to promote and manufacture the album so we’re really partnering with our fans now in that sort of sponsorship role.

a shout out to? Locally, Dangermuffin and Shovels and Rope too. And we’re all on the edge of our seat to see what Elise Testone’s next move's going to be. And also Uncle Mountain, and Yarn from Brooklyn.  

One last question before you hit the road, why the costumes? Any favorites through the years?

JT:

It’s just always been a part of what Sol Driven Train’s done…wear silly hats, you know? Our shows are supposed to be fun. We try to make it fun for us and fun for the audience too. I think diapers in Key West was one of my favorites. WP: The marching band thing’s always classic. And, on a side note, it’s always fun to go into a convenience store at 11 o’clock at night in Alabama dressed like that. That’s as much fun as being on stage for me. Take care on the road boys. We know you will be well supported and we can't wait to celebrate your successes! Underdog is available now!

BECCA FINLEY http://www.facebook.com/soldriventrainmusic?ref=ts&fref =ts http://soldriventrain.com/


Virtus

The next big thing on the northern Hip Hop

http://www.facebook.com/virtussextosentido?ref=ts&fref=ts There's no explanation for hip hop. It just grows within you”. It’s just as simple as that and that’s how Virtus, aka João Rodrigues, born 24 years ago in Oporto summarizes his ineffable craft. Armed with superior writing skills, he has already established himself firmly as lyricist and producer with two published albums (an EP and a LP) and several other projects he has engaged in. There’s no such thing as a precise reference to credit Virtus inspiration. He catches a bit of everything he lends his ear to - and that is to say a diverse lot: from the hip hop classics such as Cypress Hill, the Last Poets and Method Man, just to name a few, to the Portuguese Boss AC, Allen Halloween, José Mario Branco or Zeca Afonso (these last two are classical resistance songwriters, not MC’s). In between, he gets his kicks from many of “those lovely people from the jazz music scene” and other artists such as Erykah Badu or Vinicius de Moraes – who, he solemnly swears, he must have known in another life. And thus were born the virtues of Virtus rap which – together with the already mentioned exceptional writing skills – compelled him, from a very young age, to the “word VS music” doctrine. Virtus had been keeping his finger on the pulse of his creative urges from the time he learned how to write, directly in his

bedrooms wall. “I must have been eight years of age when my father challenged me to write a little poem” he smiles. The poem ended up, later, to be written on the wall and from then on, “the wall was like a notebook. It was like a compulsion, whenever I had an idea I liked, I’d write it there.” It was, without being aware of it yet, his initiation to the hip hop universe. He was sixteen years old when he started to produce music; before he used (as many do) beats from other producers, until he felt he had achieved the level of quality he demanded for himself. That was also the time in his life when he conceived the LP UniVersos, released in 2012. “It was a commitment I made to myself and worked for years on that. I knew that, if I was to publish any other LP, I had to finish that one first. It was a very personal quest.” Already in 2008, also with the Sexto Sentido Crew seal, Virtus had released the EP IntroVersos, a foresight of what was coming next. “I wanted to reach a level where the production was as good as the writing and wanted to do a meticulous thing. I like details and I was really happy with the result, it was exactly what I was looking for”. Virtus is gathering respect from his peers and a crowd of followers. More than just a rapper, he’s a musical poet,

mastering a tangled and fast rhyming style – sometimes urban and fierce, other times smooth and almost innocent, but always immaculate – questioning and approaching themes that, some might think, are way beyond his age (the song “Como é que sentes”, from UniVersos”, an archetypal alert against social alienation) – and always nurturing his obvious producing skills. All of this is his merit and a result of his personal and musical investments: he has been learning how to play the guitar from early age, later he switched to piano jazz and then, there’s also the Musical Production course. “College helped me a lot to get technical competences and I used to volunteer to help in live acts, to gain experience. I did UniVersos totally by myself: including the whole postproduction…all in my room.” And what a remarkable achievement this is. There isn’t any prognosis of where Virtus is taking his driven self. Probably up high, and the fact that he’s already considered to be one of the most talented Portuguese lyricists will certainly help. He has some interesting ideas but cautious as he is, will only speak of them off the record. There are some powerful things coming up, though. Just wait and see. RAQUEL PINHEIRO


THE INTERZONE The Interzone project took a while to get going. They were once called The Void, but they didn't get stuck there. They moved on, found the right line up. They grew, and in a way they started anew. DM - The Interzone had a troubled beginning (laughs). Pedro Completo - The project has been around for about 10 years, it started with just Steph and me. We had a little trouble finding a drummer. We made many auditions, but they all turned out to be very unstable people. We had one guy turn up once that looked like a homeless person. He even had teeth missing (laughs). But then he had this impeccable shoes and Yankees cap. We played with him for four months though. It was complicated. Steph - When Tiago's audition came up, we met him at a cafĂŠ instead of the studio because we were a little scared of how he would be like (laughs).

DM - Is that why it took you so long to release your first single? PC - Partly, yes. Only when we found Tiago did we feel that we where ready to evolve the project. I mean, we are not schooled musicians, we have a very particular creative process. The songs are not composed at home, they have to be written together in the studio. In the past two years the problem's been to find money to record.

DM - That's why you went for the single? Because you have more songs. Steph - Yes, we have a set of about 11 songs. It grew with time, since in the beginning we were doing shorter gig's. If people don't know you, they don't want to put with you for too long (laughs).

DM - Did your sound change a lot, or is it still close to the original idea? PC - The idea was to get together and play. Once we got the band set, things flowed. In the beginning it was a slow process. We liked to drag it, explore, check every detail. Every one of us as different influences, but we do have things in common. We just go from there. Steph - And we took a while to leave the garage, we wanted to get more solid as a band.

DM - Do you feel there's still a lot of resistance to alternative music? PC - The problem is that the venues don't want to invest in alternative music. It's not what plays on the radios and on TV. Alternative genres tend to evolve for a while, but then things die because bands can't hold on. In Portugal it's hard to find bands that have more than 10 years. Sometimes it's hard to find bands that have been around for more than a year (laughs). Steph - It's also a cultural thing. In Lisbon there are more spaces than other cities, but people still have reservations about spending money to see a band they don't know. Up north, not so much so. Despite that, I think Portugal is one of the countries that consumes more alternative music.

ŠCopyrigth - LG Photo by LG

DM - After the time that took to get this far, what are you thinking for the future? PC - I think in a way we're just starting. The idea is to record more material this year, and release 2 or 3 more singles. And we're sticking to that format because if we don't keep releasing new material, people loose interest. And it works better for us since we move more in the online market. Steph - The band's been living from that. Hurray for Facebook, that's what we have to say. PC - And we have contacts to play in Spain in the summer, try to tap the international market a little. It starts to get hard to find new places to play at home. We would like to play more in the south of the country, and do the summer festivals of course.

DM - Any final message? We would like to thank all the people that have been following us. We are hoping that this year good things will happen to the band, which is good for all our fans out there, since you'll have more opportunities to listen to us. We'll have news for you soon.

IVO BELLO http://www.facebook.com/theinterzone


Cais de Gaia

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HOT PINK

ABUSE

The Porto band, known for it's electronic sound, gave DeezMag an interview after the release of their second album “Sinuosity” last November. In a relaxed conversation, Rebecca Moradalizadeh, Ricardo Neto, Vítor Moureira and Geraldo Eanes made some curious confessions. DM - How did the Hot Pink Abuse adventure get started? Vítor - It all started with me and Geraldo, we had been doing music together for many years, and after the end of another project we had, we decided to do something in the field of electronic music and Synth-Pop, and that resulted in our first album “Nowadays” and continues now in “Sinuosity”. The project has been around since 2007. Meanwhile, in this album, Rebecca (vocals) and Ricardo (drums) joined us.

DM - Rebecca was born in London,

and you Vítor got your professional musical experience in Germany... how does this reflect in your music? Rebecca - On a personal level, I don't think it matters to much because I was born there... Of course the fact that I know English, and the lyrics are in English, is an important factor. Vítor - I can say it influenced me in terms of rigor, of discipline, because it's something I kept when I came back to Portugal. But I think that's also connected to the more academic side of music, at a conservatory level, where that discipline is essential in learning the instrument,

and in musical apprenticeship as a whole. In a way it as to do with the so called German school. And I think that helped me shape the way I see things, and my delivery to them. On the other end, electronic music is very strong in Germany, and a lot of our influences come from there.

DM - When you started what bands influenced you? Vítor- We,ve all listened to a lot of music, …but I'm not a fan of anyone, really, except maybe my parents (laughs), but I've never owned a band t-shirt. But there are bands that were important.


the project. I have friends and family abroad that have listened to my work and can actually understand it (laughs). Vítor - It was a natural decision because it has to do with the anglo-saxonic influences. I think this genre makes more sense in English and it's also a privileged language in terms of global communication. Right now we do music in Portugal, but that may not always be the case. And we make music not only for Portugal, but for everybody that might listen to it and like it.

DM - How have the public responded to this latest work? Rebecca - The people that I know that listen to the songs, are always praising the band and trying to divulge it. They're quite receptive. We still don't have a lot of people at our gigs right now, but the ones that go, like it. We have to promote the work more, because people like it, they just don't know it yet (laughs).

http://www.facebook.com/hotpinkabuse Kraftwerk for instance, are a band that I've liked since I was a kid. I find bands that influence other bands, and are in turn influenced by them, interesting. It's interesting for me to understand the cycle, their openness, their constant search, but still keeping their identity.

I think it was a coherent evolution. We have kept the same style inside the genre, although we've invested more on the rock side, which makes the songs stronger, faster, but we also balance that with a more intimist side, sometimes in the lyrics, others in the

What I like most about them, and that we try to keep as a concept in the band, is to make something simple but that works. And lets not confuse simple with basic. The issue of minimal construction interests me, the loops, the electronics, the articulation of all the parts. I think influences have a lot to do with how you understand other artists work. Rebecca - When it comes to lyrics, I had never written any. So I started to research the artists I liked the most. One of them was Pj Harvey. And that's the way I went, I did a thorough analysis of her work. It's a style that doesn't have much to do with what we do, but she's a big reference to me.

instrumental parts. It as songs that are more danceable, so compared to the other, it's a more powerful record. What's important to us is that the final result meets our expectations as composers and producers, not only in the musical side, but also the aesthetic side, at a design level, graphic art, image creation. The hard part is to create something that sets it apart from other bands or songs in the genre. Regardless of it being put into any aesthetic current, if it's pop-rock or electronic, disco-sound, techno or trance, if it's constructivist or deconstructivist music... the main objective was to make songs.

DM - You've recently released your latest work “ Sinuosity”. How does it differ from your first album “ Nowadays”?

DM - To sing in English, was it a choice from the get-go? Rebecca – I always chose English, because I'm no good at writing in other languages (laughs). It's a way to internationalize

DM - What's your opinion about the state of e l e c t r o n i c m u s i c i n Portugal? Is it in good shape? Yes, there are people doing good work. For example, Moulinex, Dj Ride, Micro Áudio Waves. Then there's the dance music circuit, which is a little distant from what we do. But it's all being done more at an individual instead of a collective level. Vítor - There should be more places to play, more festivals. And they should be more open to artists that make music in Portugal, and in Portuguese. If the people who organize the shows support artists more, the public will end up giving credit to the work that artists put into their music. Geraldo – Electronic music as the same problem that any other music. It's a small country, it's hard to reach people. So either you make music for 11 million Portuguese, half of which probably don't even listen to that much music; or you make music for the European Union, for the United States, for the rest of the world...and maybe then there will be a little more room. It's still under scrutiny (laughs). ANA FILIPA CARVALHO


“After silence, that which comes nearest to expressing the inexpressible is music.” “Aldous Huxley”

Deez mag


PAPERCUTZ

http://www.papercutzed.com/ http://www.facebook.com/papercutz.music

The Papercutz, lead by Bruno Miguel, are an electronic pop band that has already gathered plenty of praise from the specialized press and critics. In the aftermath of the release of their latest album "The Blur Between Us" they talked a bit to DeezMag about their work.


DM - Could you introduce the people that played with you today? Bruno Miguel - Francisco (Quilho), percussion and Edite Noir, vocals.

DM - In your latest record, "The Blur Between Us", songs seem to work more as individual stories, as opposed to "Lylac", where they seemed to be pieces of a whole. Do you agree with that? BM - Yes, but there's still a common thread. I think that each music has it's own universe, but they are connected. In "Lylac" each song worked to build on an universal idea, that of a certain disppointment with growing up, with the world, and a search for your inner self. In this one it's like the subject has turned outwards, trying to understand the people around him, and how he's seen by them. So each song is like a story inside a larger narrative.

DM - Why did that change happen?

BM - First because I started working with another person on the lyrics, Peixoto. When we started discussing the album, the idea came to create a different story for each music. Second, it becomes easier to explain the idea to the musicians that play with me, if things are like that, better defined. That didn't happen in "Lylac" where the songs were more little elements of a whole.

DM - This record was produced in New York by Chris Coady. Tell us about that, and your choice of producer. BM - Part of the recording was done in Porto, with our technician, Ricardo, and then the production was done in New York. That obviously required new recordings, because there are always things that need to be changed. I chose Chris as a producer because I like to work with people whose work, or skill, I admire. I think the work of a producer is to enphasize the work of the artist, and ends up leaving a mark. What I noticed in Chris's work, is that there was this colder, dirtier side to the music that I liked, and that I thought made sense for :Papercutz right now. And it shows in the album.

DM - How did you happened to

sigh for a foreign label?

BM - Well we didn't have a label here. Maybe there was one or two interested, but they were to small. I have no problem working in Portugal, or with Portuguese. It has happened in the past, and even now I'm preparing to work with Enchufada in terms of concerts, because I thought it was something where we wanted to grow. I went abroad because that's where someone was interested in my work.

DM - What's your explanation for this lack of interest?

BM - What labels nowadays bet in artists that are trying to do something different? And the smaller ones that do, loose money, because they have to compete with companies for whom selling music or club sandwiches is the same thing. I hope this will change, but for me it made no sense to wait. I had a project, and I had people interested in it.

DM - You released a remix album, with contributions from several artists. The interpretation that others do of your work, give you ideas for your own work? BM - It could happen, but no. Remixing is an experimentation, and when you experiment you take the chance of disappointing people that like your work. I'm not afraid to take a chance, and I ask record companies to do the same. I like the work of the people I invited, and I like the way the album turned out, but they are not future paths for :Papercutz. In live performances, on the other end, I might actually learn something, because there's a cross between different worlds and influences.

DM - The way you work with your musicians means that there is always a little change in your live performances. BM - Yes always try to do things a little differently. In the performance that we did today we actually intended to have more percussion. Sometimes it's just me and her.

DM - Does that cause problems for you guys? F - I haven't been playing in electronic projects, and it's not a style that I'm very familiar with, but sometimes ignorance is your best ally. It forces you to have a

more pragmatic view, and so you have to simplify. And doing simple things is the hardest. BM - He slept more than the rest of us, so he's having this really inspired thoughts (laughs). F - When I started playing bossanova it was the same thing, I didn't really know it that well, but I framed the music, using the rhythmic references that I had, what I heard in the rehearsals, the information I had from other styles I played. I was ignorant of some things but I knew others, and I adapted. It's like Legos. That's why they're the best toy there is, because you can mix and match, take it apart and put it back together in a different way. That's why I wanted to be a part of this project, so I could try new things.

DM - Some would argue that that's the work of a musician. BM - It is. But not necessarily the work of someone who composes. And I'm not talking about my case, although I don't consider myself a musician, but there are people that compose a certain style of music, and that's it. They can't do anything more than that. But a good musician has the openness to recognize and interpret what is needed in other projects. One thing that annoys me is when someone goes into a new project and they immediately think that their contribution is the most important one. They have to give it time, serve the music that is already there and then work on it. That's why I trust their work, and want them to do more. F - Sometimes when you are confronted with someone else's work, something you don't know, you are a little fragile. So the natural reaction is to change things to a language you're more familiar with.

DM - And what are your plans from here on?

BM - To play live. Promote the record. We all have other things going, but I think our challenge now is to play live. Like Francisco said, we're still learning to play together. F - And that's done on the road. When it comes to strengthen the band and get ideas flowing, five gigs are worth more than 30 rehearsals.

IVO BELLO


DM - A couple of shirts and a guitar. That's it. And the travels must have a clear influence in the sound that you are making. EB - Yes, it really has. I think listening to a lot of European music, a lot of European folk rhythms made a difference. Because I'm not just inspired by American folk music, I had more of an Americana (1) sound, but then being in Europe for over five years, the European rhythms seep in, and so I think I end up being influenced equally by both styles.

DM - Was this the sound that you wanted to make when you started? EB - Actually I'm kind of approaching songwriting more from the perspective of a writer, so for me the sound basically gets influenced by the way the words are coming out anyway, so the way I arrange the songs is not necessarily the end goal in itself, but more to create the song in the way that serves the words better.

DM - Where do you inspire yourself to write your songs, just the travels or there's something more?

©Copyrigth - Fábio Teixeira

EB - I'm a song writer, but I think I'd be a writer in any medium. So I think that it's beyond the travels, it's kind of the way that I process information and try to figure out why I'm here and what I'm doing with my life. It's also kind of a catharsis, I can basically use the songs to express the really weird things, or the really, really dark things, or whatever I need to get out of my system. And subject my audience to (laughs).

ERICA BUETTNER

DM - And being a solo artist, it has to do with that approach to music?

Erica Buettner travels light, like any good adventurer. All she needs is her guitar, her voice and her talent for turning the world in and around her, into songs. And that’s more than enough.

DM - When you recorded you're last album "True Love and Water", what were your thoughts for it?

DM - You're from the States, but you have been roaming around Europe. EB - I have been roaming, yes. I didn't plan to roam. I first went to France, I was an exchange student, studying French. And then I just caught the Paris bug, and ended up staying there for 5 years. I guess that's kind of what started it, because from that base I started traveling a lot and doing concerts. I basically brought, like, a suitcase and my guitar, and that's how it all started.

EB - Yeah. It has to do with storytelling, and kind of sharing a very sincere world view the best that I can.

EB - Actually I wrote those songs without the intention of making an album. I was studying Literature at the time, and I was actually just going to parts with my guitar and playing, and I started writing those songs. And it was really more of an exploration. Even when I started recording I thought "Ok, I'll do one song." and then "Ok we're doing an EP." and then finally


ŠCopyrigth - BalconyTV "No, we're going to make an album.". I think I'll never get to make an album like that again. Because now I know I'm

EB - The thing that I have to say that I love about Portugal, is that I love Portuguese audiences. Seriously, some of the best

making an album! (laughs). And I think there's something to that first innocence of not really setting out to do something intentionally that takes the pressure off in a way.

audiences that I've ever played for. There's this respect for music here, that really makes it a pleasure for the performer. And I just love playing here. People really connect, they really pay attention. They appreciate what you're doing, which makes it more fun.

DM - So did that ease the recording process, or did that make it more difficult? EB - It had it's pros and cons. I think that the positive side was that there was less pressure, I didn't have any attachment to the end result, so if people liked the songs I would be, like "Really!? Great!". But at the same time it's nice to think of something as a work from start to finish, and now I work in a way that I have more of a concept that I can follow.

DM - You've been in Portugal for two years. Why? Did you fall in love with the climate? EB - Well I fell in love with a few things (laughs). I actually did literally fall in love, so... I moved because of a relationship, but it was more than that I think, also friendships and connections that I felt when I first came here. And it was also at a time that I was really done with my time in Paris, and ready for something new. But maybe not quite ready to go home to the States. So it was a good home base, that's the way I see it.

DM - So you plan to stick around? Or are you just going to keep moving? EB - I'm here for now, I can say that. 100% present. (laughs).

DM - Do you want to leave a final message for our readers? EB - A message? That's so much pressure but...

DM - Pressure? You recorded an album, and this is pressure? EB - Well when I'm sitting alone I can work very hard on what I'm going to say (laughs). But I guess to leave a message of gratitude. Because the thing that's specific about being a singer/songwriter is this connection that you have with the audience that makes it worth doing. And I feel just really grateful for all the people that come out to the shows and pay attention, and communicate with me. It's really their energy that get's me going.

DM - And did that influence your latest songs? EB - It has definitely influenced my new songs, so my next record will have a different energy, and I hope you can hear a little bit of Portugal in it.

DM - Have you been playing a lot? EB - Yes I've been playing all over the place. Playing all over Portugal, and I'll also be going to Switzerland. And my album will be coming out in UK this year, so I'll be playing all over Europe.

DM - How do you think the audiences have been responding to your sound?

IVO BELLO (1) Americana - contemporary music that incorporates elements of various American roots music styles, including country, folk, R&B and blues. http://ericabuettner.com/


WE JUST HAD TO FILL SOME EMPTY SPACES IN POLISH MUSIC What annoys you the most about the Polish music scene? What irritates me the most in every scene ( not only Polish ) is a lack of truth. There are many good bands, with great equipment and professional musicians but they’re pretending to be someone else. Well, I’m not buying it and I’m sure that I’m not the only one. When you play your own music you have to be yourself and it doesn’t matter that some people won’t like it. It’s better to be hated for who we are than to be loved for who we are not!

You are quite a fresh band which in some ways already marked the Polish and international music scene. You recorded the song “Youth” whereby, in a certain sense, you broke the bank. For those who don’t know you: your band exists since September and you’ve already released a single, which is to Cheryl Waters’s from KEXP liking. T h e N M E M a g a z i n e a lso appreciate your music, and I know that Sarah Blackwood is preparing your song’s cover. What’s more you signed your first recording contract with a big record label. What are your future plans? What do you want to create on that solid ground? What do you want to achieve?

Our future plans are: finishing some demos for the debut album, write more songs and start planning the next tour. We’re also hoping to go worldwide :)

Do you agree with the statement that your success lies in the need to play folk music in this country? I think that in Poland there are no such bands like Lilly Hates Roses and that’s why I consider us lucky. Maybe this is why our debut was accepted so well, we just had to fill some empty spaces in the Polish music market. We didn’t think about it that way though. In few years there would be some other bands like us, so we’re happy to be first :)

Not long ago, you came back from your first tour entitled Lost Kids. What are your impressions? It was amazing, really cozy, chilly and nice. We met a lot of nice and wonderful people during the Lost Kids tour. It was a great experience for us. We’re really grateful to our manager Piter who made those events possible.

Ok, fast question/ action. Pull out your MP3 player and tell me the title of the first 3 tracks from the playlist. R.E.M - Try not to breathe, Soley - Blue leaves, Peter Bjorn and John - Dig a little deeper ;)

The artist, who is the most valuable to you and with who you could close yourself in the basement and record something together, is? I’d love to record a song with Thom Yorke - that’s one of my biggest dreams. He’s my hero since I was a kid. Also I think that recording a song with Sigur Ros would be a nice experience :)

What moved you the most, musically, in 2012? In 2012 - the best albums for me were: Efterklang - Piramida Yeasayer - Fragrant World Alt-J - An Awesome Wave those three are absolutely amazing! PIOTR WISNIEWSKI http://www.facebook.com/ LillyHatesRoses


and tours.

VOLUMETEARS by Sunny Aggarval

History of your band for unfamiliar readers The band was established in 2010 by Jekaterina Pranevic (lead vocal) and Anna Polukord (guitar, vocal), after we met each other and played together for the first time. Back then various melodies and lyrics hovered in the air, accompanied with a longing for a new band. After lengthy rehearsals and explorations, the vague ideas began to take shape and form, which later became the musical language of Volumetears – senseful, rhythmic soul, R&B and indie music with jazz elements. How do the new songs differ from your older material? Volumetears single “She” will be heard in the movie by Audrius Mickevicius “2 Jars of Yoghurt”. I don’t think we can already divide our works in stages. All of the songs were born in a period of two years. And this entire period is the beginning of Volumetears: we didn’t yet reach popularity, didn’t have a long tour, and we haven’t even released our debut album. However, we’re working hard to get there. We’re looking for people that we love working with. Overall I think our songs are rather diverse – maybe also because we’re writing in three different languages. Recently we have been writing more Lithuanian and Russian songs

and we feel a need to catch up with the number of English songs.

The songwriting and recording process and what makes this record different. So far we like to concentrate on the song composition process itself, the search for the right sound. And although we have ambitions and enough material for an album, we find it hard to finalize the songs and to agree on the final shape of the song with sound engineers. It might just be the lack of experience in explaining our ideas to them. In general we think that sound engineering, production, conceptualization and consistency is important for any performer.

The band's recent history beyond releases

The summer of 2012 was like a revival to us. After an eight month long break, we started participating in various festivals in Lithuania and even were adventurous enough for a small tour in London. In one of those Lithuanian festivals during our performance Jekaterina broke her leg, but we had already bought the tickets. So in the end we not only had to travel with a guitar, but also with a pair of crutches. After our crazy and inspiring trip we realized that if you are moving towards your goal, in the beginning you are bound to fail, but if you keep going, give yourself away to the music, people that help you appear at the right moments. In London after some serious challenges we had a warm shed, met wonderful musicians and played in numerous events. Now we are eagerly waiting for a follow-up.

Future plans and upcoming releases and tours. Give our readers an idea of what to look forward to with the band. We are also experimenting with new instruments. Jekaterina is trying to tame a guitar, while Anna is inventing djembe rhythms. We are often performing in local clubs and pubs, we have some interesting proposals for the future, but it is too early to announce. We are always open for collaboration with interesting people to create something musical. http://www.volumetears.lt/ http://www.myspace.com/ volumetears https://www. facebook.com/pages/ volmetears/324786407558535


What can you say about a band like the Shivers? Their music is visceral and unpretentious. Their lyrics are sometimes jokes, other times complete nonsense. But they are fun, and they're insane. And that's a hell of a combination for a rock band. DM - When you started, the idea was already to be a duo? Jo達o Arroja - The initial idea was to be a power trio like Nirvana, but there where already a lot of bands like that, and we wanted to be different. We wanted to do something that could relay our craziness, our friendship. In the beginning the songs where more like jokes to our friends. And then "Amendoins para o peanuts to lobster (laughs). Gordo"(1) became a success. IA - That song turned Shivers around. We saw that it worked, DM - Audiences react really well to your shows. What about other bands? the audience liked it, we had fun, they had fun. JA - Some people look at us sideways. It's our show. We go in DM - You mentioned Nirvana and that shows in your for the kill even if we are the first band. Once Igor ended up music, that kind of minimal grunge. in the hospital by the third song. And that was the whole show IA - Yes, pure and hard. And we created an energy of our own. (laughs). Playing for 10 or 100 people, we always go all out. And Sometimes bands search for a long time and never find their we don't do any drugs. It's just pure adrenaline. way. And we unintentionally found ours. Our lyrics are catchy, IA - It makes it a little hard for bands to come in after us. We and we do a hell of a lot of noise for a couple of guys. give a kick-ass show, we break guitars, we trash the stage. It's JA - We created this mix between grunge and "monkey business hard to hold an audience after that. rock" and we named it "Rock Popular Caramelo"

SH IV ERS

DM - And those joke lyrics don't clash with your grunge style?

DM - Has that attitude worked for you commercially?

IA - We've achieved more than I ever thought. We've been on TV a lot, on MTV, we've done nearly 200 gigs. The thing is our target audience are the kids. They're the ones that go crazy with our thing. But to reach that audience you need a lot of support behind you, because it's the parents that are going to pay for it. And we are on an independent label, and pay for everything ourselves. So it's never going to be financially viable. Many of DM - And your looks are also a part of your stage show. our gigs were underground stuff, sometimes just to help other JA - The point is to shock a bit, to arouse people's curiosity. bands or events. It's the fun we have that keeps us going. We've played in a lot of places where people come to us and say DM - Despite the song titles and lyrics, this is a serious record. "Listen, at first I didn't get it, I though it was really ridiculous. IA - Yes, it was a serious investment. The CD has a lot of quality. But then I had fun. You have attitude". And that's cool for us, The production is really good. It was done by Ricardo Espinha, because that's what we want to do. We don't want to play music that has worked with Cleft, More Than a Thousand, Fonzie. He to be admired. We want people to have fun, to party with us. and his team are really good, and did an excellent job. Specially That's the main thing. if you consider that's just guitar, voice and drums. JA - No. I think a lot of people go to hard-core concerts, and don't understand anything, but they still have fun. We can be singing about blue toilets or whatever, but if you have the right attitude you can move the audience. IA - And it doesn't look forced. It's something that comes out naturally.

DM - And your performances are usually very energetic.

DM - What do you see in the future for this project?

IA - Break-neck stuff, like I usually say. IA - There are still things to achieve. I would like to play abroad. JA - And other things. You almost dislocated a shoulder once. And the national summer festivals, even if it is on a secondary And how many guitars is it now? stage. And we could always record another record, but it's hard IA - I've broken almost 40 guitars (laughs). because it's a big investment. DM - It took you three years to release your first EP. JA - And since there's just two of us, we'll keep doing some clips to keep people entertained. That's a lot of preparation. IVO BELLO IA - It wasn't really preparation. Look, we were really bad (1) - "Peanuts for The Fat Man" (laughs). And then we got better. We learned to play the instruments together. If you listen to the 2004 EP, and then to http://www.shiversonline.com/ "Rock Popular Caramelo", released in 2010, it's like comparing http://www.facebook.com/shiversonline?fref=ts


STALKS

BLACK

THE

Where is your hometown? Do the people back at home support you? The Black Stalks are a band from Cork in Ireland, with three of our members coming from Cork City and one from a more rural area. We have a lot of goodwill and support, and attendance at shows in Cork is always strong. They are a pleasure to play for!

Who inspired you and why? Quite a lot of people, both inside and outside music. Buy us a drink and we’ll happily discuss them all with you… actually we’ll probably discuss anything with you! 

If you were to describe yourself as a band, what would you say? We’re guitar music  –  we write great catchy songs with interesting melodic arrangements both vocally and from guitar, underpinned by a rhythm section more than capable of switching from groovy to outright in your face aggression. A captivating mix.

What was your funniest and most embarrassing gig experience? Drink was involved, as was an absence of people due to losing in a popularity contest to a campfire. We had fun, and so did the heaving audience of three people.

Can you survive on music alone or do you have other work?

W hat d o yo u t hin k yo u r s elf about the music scene locally nationally and internationally? The music scene increasingly resembles global retail where a chas i n g o f t h e short tail is the only market left. Record labels want s a f e b e t s n o w, so it's a bit more of http://www.facebook.com/theblackstalks a monopoly with what acts are heard We all work outside of music, there on the world stage. There's a wonderful isn’t enough revenue in music full time amount of talent around Cork, especially sadly for us!  Someday maybe this will for such a small place. However there change but everyone’s been saying that isn't enough interaction and cooperation for decades haven’t they? Support is between bands here which is a pity. As good here  –  radio will definitely play a result, most local bands struggle to songs from local artists, there’s a lot of build a fanbase beyond their own friends music events and lots of good promotion - therefore both the bands and fans of outlets. Venues is a tricky one  –  some good new music lose out.  With this in of them are extremely helpful, others mind, it could be said that the term make life difficult. Also, with more and 'scene' is redundant. There’s no scene, more places closing down there's far only a lot of different strands of music. less places where a band can set up and put on a show. Not enough people You are working on your first album in the business here get paid, which is at the moment, how is that coming along? frankly a sorry state of affairs. There It’s embryonic  (ie.  we’ve barely seems to exist a prevailing 'something started)! Our number and quality of songs for nothing' attitude towards bands and are fully in place, and we have little artists which makes it harder for them revenue worries presently  –  however to move forward as a working unit and our next step is the recording and realize their full potential. processing of material and that takes What do you think about sharing time. Pressing, promotion and touring music on the internet? are all being planned at the moment as Increasingly against it  –  the margin well. It’s a long and labour filled process is being driven smaller and smaller, to produce any product, music is no and increasingly you’re seeing people different. putting in a lot of work and getting little or nothing in return. A lot of the free What are your hopes for the near future? downloading services seem to generate Recording and releasing our own selfa tidy profit for their founders and that’s financed record backed by our own where distribution ends. While increased publishing and promotion and a tour that availability of music should be a good at the very least extends to Northern thing, there must be some change to the Ireland and Ireland, if not places further operation to allow a fairer distribution afield! of revenue to those who create -content or eventually you’ll see a less stable and consistent level of content worldwide.

JOANNE COLLINS & JOHN HOUGH


WWW.BALCONYTV.COM


well made.

Some bands think that it is impossible to sing rock in any language other than English, but you not only sing in Spanish, you even dare a bit into Gallego.

©Copyrigth - Pepiño Quintela

FLIP CORALE

Flip Corale are a band from Pontevedra who have just released their first album "Health and good fortune". Their songs are ideal to be accompanied by a few beers in good company. Born on the Atlantic coast, they are clearly influenced by the maritime spirit. We talked with them about their music, their album and their plans for the future. Your songs exude beer, saltpeter and a lot of party mood. How did Flip Corale y Los Macabros came into existence? As the older ones tell it, it all started in a tavern of Portocruz. Tired of fishing sharks we decided that these noble beings could not be blamed for our obsessions, so under the influence of strange "spirits" we decided to put up a band with the divine mission of shaking the skeleton of any mortal that stood in our way, to be put in front of beautiful tunes of classic, marine like, beer filled, sweaty rock.

Talking about your name, if you are the Macabros who are Flip Corale?

It's our private boat with a life of its own. It is the spirit that guides us toward the land of the Eternal Hits heh,heh.

Your style goes from tavern rock to folk, you have defined it as Motorfolk. What does this odd label mean? Basically what you've just defined . We do not try to invent anything because we believe that there are still many great classic rock songs afloat, we only try to fish them and then polish them with guitar riffs, drinks, electricity, speed and blood. That's Motörfolk!!!

One could say that you drink from sources as diverse as Neil Young or even The Pogues. Yes sir. All ran through our personal filter. If you want more guilty, take these: Stones, Faces, Jacobites, Kinks, Burning, Waterboys, McGuinness Flint, … All is rock and roll, but we like it.

Right now you are preparing your first work "Health and good fortune" under the Barcelona's Crack Records seal, in a format that seems to be becoming once again, fashionable, the vinyl . Why did you choose this medium? Because it's the first and original format, the only one we like and the only one that cannot be pirated. A big and beautiful cover, and the smell of things

The bands who think that have some kind of complex that we're not going to stop to analyze. You can sing in any language, as long as the music comes through. Don't believe that just because you control the phonetics and have a prodigious voice, you already have the work done. Tom Waits invented a language for one of his songs! Like some lost tongue from an eastern Europe Republic.

You have adapted to your language songs like Whiskey In The Jar. That's right, and entitled it Whiskey in my Place, something like a big apology to something that we did, although it wasn't me or one of the others, but more the whiskey that I had vented. That was indeed the culprit.

Speaking of your lyrics; pirates, ghosts, and all sorts of colorful characters populate your particular universe. Is mythology a source of inspiration for you? Mythology and a thousand and one characters from our particular universe, formed from film classics, literature, comics or history, in addition to our crazy adventures.

What are your plans for the future? Tour, next record, etc. To not stop enjoying this, and play up and down all geographies that lend themselves to good rock. Ah, and in May to Sheffield, God willing!

"Health and good fortune" is the title of your album. Is this your wish for the coming year? For example, and if we can be careful and not spend it all inappropriately, so much the better. GERO COSTAS http://www.facebook.com/flip. corale?ref=ts&fref=ts http://flipcoraleylosmacabros. bandcamp.com/


Elly O’Keeffe What is your hometown? Do the people back at home support you? Yes, we have a very nice scene in Cork, where I am from in Ireland. When I released my debut album in 2010 I had huge support from local radios, papers, internet promo sites, etc.. The night I held my launch I had a massive supporting crowd so I will always be grateful for the people that are from my hometown (Knocknagree) and the city where I live.

How does it feel to professional musician?

be

a

It is great a lot of the time but it can be very hard work and challenging at times. But like anything, if you have the talent and work hard enough, you will get your rewards!

Who inspired you and why? I have a lot of influences. They have changed over the years. My favourite vocalist growing up would have been Eva Cassidy. Aretha Franklin is another of my favourites! Bands I loved would have been Radiohead, Rory Gallagher, Jeff Buckley. I like a lot of folk music like

Lynda Thompson, Janis Ian. Then more alternative artists like Janis Joplin, Joni Mitchel, Tom Waits etc.. Too many to mention.

So tell me how do you create your songs? Do you arrange everything? Writing can be tough at times. Usually when I write I come up the melodies first. Then lyrics come just after. It’s the music that makes me feel what I want to write about. Sometimes when I write songs on the guitar or piano I can hear certain arrangements and instrumentation. Its what I like best really, is the writing. When it goes well that is!!

What was your funniest and most embarrassing gig experience? Funniest thing that ever happened was when I almost fell back into the drumkit when I was rocking out!! I didn't see the mic stand for the kick drum and tripped over it and very nearly fell back into the kit!! Got out alive though!

What do you think about sharing music on the internet? I think its really important in this day

and age to get your music online. It has a huge effect and the publicity is great. You can make yourself accessible to anywhere in the world. I know you probably can't get better then a live performance but I think the internet has made it a lot easier for people to get their stuff out there and become more successful. So many more people can get to hear you. I know downloads are changing the music industry and in terms of sales but, as the great Bob Dylan sang, these are the times that are changing.

What are your hopes for the near future? My hopes for the future are to progress in my writing, and hopefully be successful enough to tour comfortably around the world. Also to be true to myself as an artist. JOANNE COLLINS & JOHN HOUGH

http://www.myspace.com/ellyokeeffe


Caellum’s Edge, a Rock band from Barreiro, Portugal, left it's mark on DeezMag by presenting four minds full of new ideas and prepared to rise on the music scenery. Diogo Costa (Guitar/ Keyboards), Diogo Lopes (Drums), Jorge Borges (Bass), Pedro Correia (Guitar/Vocals) told us more about their ‘’Spatial project’’. DM - Caellum’s Edge, who are you? How did this project begin? It all started with an idea I had a long time ago (Pedro). I wanted to play something different, and I decided to look for some guys to join me in this and, after some time, we ended up together. At that point, I told them what I had in my mind and I showed them the musical concept I would transmit. They accepted and today, we are all in the same path, with the same musical objectives. With all this, was born our first EP, New World.

DM - So your EP can be considered the mirror of your work. How do you characterize it?

It’s a New Spatial Era in musical terms. We call it Space Rock, and it is related with the will of creating an ambiance. Our music does not only seduce by its sound compositions but also by the ambiance that emerges and involve the public, in the space. We were already criticized for considering ourselves as the producers of this type of music, but for all of you, I advise you to listen to our music and to let yourselves go with it, because only after doing it can you have an opinion.

DM-To create that Spatial Ambiance, what inspires you? What are your musical influences? First, we must go to the Moon.

(laughs). Then, we can call our music ‘’Space Rock’’. It emerges with the space addiction, the involvement of what is between sounds and it’s also the use of our samples, the applying of many effects, of many different records. Our musical influences are mainly Thirty Seconds to Mars, Avenged Sevenfold, Pink Floyd, U2, etc.

DM - Why Caellum’s Edge? What does it mean? We really wanted to escape from the banalities and futilities, so we found that Caellum is a Latin word which means ‘sky’. We decided to add the Edge to give an idea of ambiguity, asking: what’s the sky’s limit?

DM - To finish, what are the main plans for the Caellum’s Edge? We have a few more songs almost ready to come out, but this is our future plan and with it, we want to achieve the maximum possible, we…We want to go to the Moon!! (laughs) INÊS GALVÃO TELES http://www.caelumsedge.com/ http://www.facebook.com/ elumsEdgePage?fref=ts


TECHNICAL SHEET FOUNDER MIGUEL TEIXEIRA EDITORIAL COORDINATION IVO BELLO ART DIRECTION / PAGINATION SÓNIA FERRO LISBON OFFICE IVO BELLO | INÊS GALVÃO TELES PORTO OFFICE ANA FILIPA CARVALHO | BÁRBARA AQUARELA BARREIRA PEDRO FARIA | RAQUEL PINHEIRO

FOREIGN OFFICES INDIA OIJO! MEDIA

RUSSIA BORIS BORSKI

POLAND MARCIN GRZESZAK | PIOTR WIŚNIEWSKI USA LITHUANIA REBECCA FINLEY SUNNY AGGARVAL SPAIN GERO COSTAS | ROMINA DOCE IRELAND JO COLL | JOHN HOUGH TURKEY CENK HASDAL | KUBILAY ÖZLER


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DeezMag #3