Atlantic Mavericks: A decade of experimental music in Portugal 1982-1993
Madrid’s Glossy Mistakes swandive into the proto-Balearic wist of experimental music from ‘80s Portugal, sifting wavy pearls from the peripheries by the likes of Pop Dell’Arte, Carlos Maria Trinidad, and SPQR
Ushered in close succession to the recent Rock Rendez Vous survey centred on ‘80s Lisbon, ‘Atlantic Mavericks: A decade of experimental music in Portugal 1982-1993’ overlaps the region and era from a shinier-eyed perspective. We’re partly overjoyed at the fact spellchecker gets its way and we can finally use Porto-Balearic as a descriptor for a number of cuts on show, which tile up blue and white geometries to portray the atmospheric background spirit of Iberia for curious ears. Portugal was home to a loosely-connected rhizome of artists infusing the paradigm with their own spirit. The 11 artists collated here spell out a vibrant undergrowth of styles verging on the new age, paralleling aspects of rock, electro, synth-pop and ambient music with a breezy perspective and quality that characterises contemporary Portuguese musics by the likes of Yong Yong, Niagara, or Polido, and has clearly put wind under its wings since the ‘80s.
One of Portugal’s premier new wave rock bands, Pop Dell’Arte (known and beloved by us for their covers of Adonis on Jamal Moss’ Mathematics) give up a highlight with the loping, dubbed-out disco-rock of ‘Querelle’, and SPQR snag us in their bittersweet ambient daydream ‘Flow’, sailing the coastal breeze along with Tó Neto’s charming slow jam ‘Daly’, and Fé de Sábio’s Porto-Balaeric pastoral ambient chimes in ‘Crepúlsculo’, and likewise by Holuzam alum Telectu. sThere’s a fine twist of Japan via Ultravox in Carlos Maria Trinidad’s gorgeous sway to ‘Em Campo Aberto’, and fruity acid for the discerning Balearic bonces in ‘Androméda’ by Palladium, plus experimental gems registered in ‘Optical Sunday Without William Burroughs’ by Santa Maria Gasolina Em Teu Ventre sure to stir the weirder juices along with Linha Geral’s curdled rock torchsong.
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Madrid’s Glossy Mistakes swandive into the proto-Balearic wist of experimental music from ‘80s Portugal, sifting wavy pearls from the peripheries by the likes of Pop Dell’Arte, Carlos Maria Trinidad, and SPQR
Ushered in close succession to the recent Rock Rendez Vous survey centred on ‘80s Lisbon, ‘Atlantic Mavericks: A decade of experimental music in Portugal 1982-1993’ overlaps the region and era from a shinier-eyed perspective. We’re partly overjoyed at the fact spellchecker gets its way and we can finally use Porto-Balearic as a descriptor for a number of cuts on show, which tile up blue and white geometries to portray the atmospheric background spirit of Iberia for curious ears. Portugal was home to a loosely-connected rhizome of artists infusing the paradigm with their own spirit. The 11 artists collated here spell out a vibrant undergrowth of styles verging on the new age, paralleling aspects of rock, electro, synth-pop and ambient music with a breezy perspective and quality that characterises contemporary Portuguese musics by the likes of Yong Yong, Niagara, or Polido, and has clearly put wind under its wings since the ‘80s.
One of Portugal’s premier new wave rock bands, Pop Dell’Arte (known and beloved by us for their covers of Adonis on Jamal Moss’ Mathematics) give up a highlight with the loping, dubbed-out disco-rock of ‘Querelle’, and SPQR snag us in their bittersweet ambient daydream ‘Flow’, sailing the coastal breeze along with Tó Neto’s charming slow jam ‘Daly’, and Fé de Sábio’s Porto-Balaeric pastoral ambient chimes in ‘Crepúlsculo’, and likewise by Holuzam alum Telectu. sThere’s a fine twist of Japan via Ultravox in Carlos Maria Trinidad’s gorgeous sway to ‘Em Campo Aberto’, and fruity acid for the discerning Balearic bonces in ‘Androméda’ by Palladium, plus experimental gems registered in ‘Optical Sunday Without William Burroughs’ by Santa Maria Gasolina Em Teu Ventre sure to stir the weirder juices along with Linha Geral’s curdled rock torchsong.
Madrid’s Glossy Mistakes swandive into the proto-Balearic wist of experimental music from ‘80s Portugal, sifting wavy pearls from the peripheries by the likes of Pop Dell’Arte, Carlos Maria Trinidad, and SPQR
Ushered in close succession to the recent Rock Rendez Vous survey centred on ‘80s Lisbon, ‘Atlantic Mavericks: A decade of experimental music in Portugal 1982-1993’ overlaps the region and era from a shinier-eyed perspective. We’re partly overjoyed at the fact spellchecker gets its way and we can finally use Porto-Balearic as a descriptor for a number of cuts on show, which tile up blue and white geometries to portray the atmospheric background spirit of Iberia for curious ears. Portugal was home to a loosely-connected rhizome of artists infusing the paradigm with their own spirit. The 11 artists collated here spell out a vibrant undergrowth of styles verging on the new age, paralleling aspects of rock, electro, synth-pop and ambient music with a breezy perspective and quality that characterises contemporary Portuguese musics by the likes of Yong Yong, Niagara, or Polido, and has clearly put wind under its wings since the ‘80s.
One of Portugal’s premier new wave rock bands, Pop Dell’Arte (known and beloved by us for their covers of Adonis on Jamal Moss’ Mathematics) give up a highlight with the loping, dubbed-out disco-rock of ‘Querelle’, and SPQR snag us in their bittersweet ambient daydream ‘Flow’, sailing the coastal breeze along with Tó Neto’s charming slow jam ‘Daly’, and Fé de Sábio’s Porto-Balaeric pastoral ambient chimes in ‘Crepúlsculo’, and likewise by Holuzam alum Telectu. sThere’s a fine twist of Japan via Ultravox in Carlos Maria Trinidad’s gorgeous sway to ‘Em Campo Aberto’, and fruity acid for the discerning Balearic bonces in ‘Androméda’ by Palladium, plus experimental gems registered in ‘Optical Sunday Without William Burroughs’ by Santa Maria Gasolina Em Teu Ventre sure to stir the weirder juices along with Linha Geral’s curdled rock torchsong.
Madrid’s Glossy Mistakes swandive into the proto-Balearic wist of experimental music from ‘80s Portugal, sifting wavy pearls from the peripheries by the likes of Pop Dell’Arte, Carlos Maria Trinidad, and SPQR
Ushered in close succession to the recent Rock Rendez Vous survey centred on ‘80s Lisbon, ‘Atlantic Mavericks: A decade of experimental music in Portugal 1982-1993’ overlaps the region and era from a shinier-eyed perspective. We’re partly overjoyed at the fact spellchecker gets its way and we can finally use Porto-Balearic as a descriptor for a number of cuts on show, which tile up blue and white geometries to portray the atmospheric background spirit of Iberia for curious ears. Portugal was home to a loosely-connected rhizome of artists infusing the paradigm with their own spirit. The 11 artists collated here spell out a vibrant undergrowth of styles verging on the new age, paralleling aspects of rock, electro, synth-pop and ambient music with a breezy perspective and quality that characterises contemporary Portuguese musics by the likes of Yong Yong, Niagara, or Polido, and has clearly put wind under its wings since the ‘80s.
One of Portugal’s premier new wave rock bands, Pop Dell’Arte (known and beloved by us for their covers of Adonis on Jamal Moss’ Mathematics) give up a highlight with the loping, dubbed-out disco-rock of ‘Querelle’, and SPQR snag us in their bittersweet ambient daydream ‘Flow’, sailing the coastal breeze along with Tó Neto’s charming slow jam ‘Daly’, and Fé de Sábio’s Porto-Balaeric pastoral ambient chimes in ‘Crepúlsculo’, and likewise by Holuzam alum Telectu. sThere’s a fine twist of Japan via Ultravox in Carlos Maria Trinidad’s gorgeous sway to ‘Em Campo Aberto’, and fruity acid for the discerning Balearic bonces in ‘Androméda’ by Palladium, plus experimental gems registered in ‘Optical Sunday Without William Burroughs’ by Santa Maria Gasolina Em Teu Ventre sure to stir the weirder juices along with Linha Geral’s curdled rock torchsong.
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Madrid’s Glossy Mistakes swandive into the proto-Balearic wist of experimental music from ‘80s Portugal, sifting wavy pearls from the peripheries by the likes of Pop Dell’Arte, Carlos Maria Trinidad, and SPQR
Ushered in close succession to the recent Rock Rendez Vous survey centred on ‘80s Lisbon, ‘Atlantic Mavericks: A decade of experimental music in Portugal 1982-1993’ overlaps the region and era from a shinier-eyed perspective. We’re partly overjoyed at the fact spellchecker gets its way and we can finally use Porto-Balearic as a descriptor for a number of cuts on show, which tile up blue and white geometries to portray the atmospheric background spirit of Iberia for curious ears. Portugal was home to a loosely-connected rhizome of artists infusing the paradigm with their own spirit. The 11 artists collated here spell out a vibrant undergrowth of styles verging on the new age, paralleling aspects of rock, electro, synth-pop and ambient music with a breezy perspective and quality that characterises contemporary Portuguese musics by the likes of Yong Yong, Niagara, or Polido, and has clearly put wind under its wings since the ‘80s.
One of Portugal’s premier new wave rock bands, Pop Dell’Arte (known and beloved by us for their covers of Adonis on Jamal Moss’ Mathematics) give up a highlight with the loping, dubbed-out disco-rock of ‘Querelle’, and SPQR snag us in their bittersweet ambient daydream ‘Flow’, sailing the coastal breeze along with Tó Neto’s charming slow jam ‘Daly’, and Fé de Sábio’s Porto-Balaeric pastoral ambient chimes in ‘Crepúlsculo’, and likewise by Holuzam alum Telectu. sThere’s a fine twist of Japan via Ultravox in Carlos Maria Trinidad’s gorgeous sway to ‘Em Campo Aberto’, and fruity acid for the discerning Balearic bonces in ‘Androméda’ by Palladium, plus experimental gems registered in ‘Optical Sunday Without William Burroughs’ by Santa Maria Gasolina Em Teu Ventre sure to stir the weirder juices along with Linha Geral’s curdled rock torchsong.