Piri Piri Samplers + O Terço dos homens
Or Sobre Blau
Piri Piri Samplers + O Terço dos homens
Boomkat Product Review:
Gorgeous half-cut strums and lonesome blooooz broadcast over a cranky shortwave radio signal, a delicate spell pitched at anyone into Neil Young’s ‘Dead Man’ OST, or if u get all tingly imagining yourself listening to Loren Mazzacane Connors somewhere wild and barren in the dead of night...
Catalonian guitarist Andreu G. Serra (aka Ubaldo) and British guitarist Kiran Leonard formed Or Sobre Blau (a Catalan translation of the Portuguese idiom 'ouro sobre azul', or blue over gold) in 2017 when they were both briefly based in Lisbon, and even though their communication was stunted - they rattled together a functional dialect from Spanish, English, Portuguese and Catalan - the music really speaks for itself. At the core of their process is two very different approaches to guitar music: Leonard has a more traditional style, drawing from folk, blues and Americana, while Serra uses pedals and tape loops to abstract the instrument sometimes beyond recognition. It's this fluid interplay that made 'Piri Piri Samplers' a cult breakout, and when they followed it with a tour and residency at Brussels' Les Ateliers Claus, Serra and Leonard made sure they were recording their improvisations.
'O Terço dos homens' expands the tape with an unheard session from the residency, bringing extra conceptual depth and compositional weight to the original set. The duo's restraint is evident immediately, when Leonard's faded, blues-y riffs collide with Serra's subtle saturations on opener 'De passeio pelo Alto de São João'. Both players leave enough room for their contributions to intermingle harmoniously, and Serra's noisy textures - buzzing like a broken air conditioner - add an important roughness to Leonard's relatively straightforward recitations. And when they add more density, like on the rolling, lysergic 'Do Menino Deus', this philosophy holds firm; Serra's thick tonal clouds, interrupted and pitch shifted by his cassette treatments, work like a drone note that roots Leonard's free spirited improvisations.
Even when they careen into instrumental hardcore, tipping their hats to Slint's earliest, grungiest material on 'Da Memória', this understanding of the roles guides their hands, with Serra's piercing feedback dissolving into Leonard's dirt-caked riffs until they sound like a full band. And at their most windswept on the Americana-tinged 'Mártires', Serra's twangy, ferric loops give the recording the character of a broken, ancient amp, or wax cylinder, helping the duo subvert the timeline. 'O Terço dos homens' meanwhile is an entire album's worth of ideas packed into a single 11-minute track, with monastic chants guiding their brittle post-rock riffing at first, before it swells into a distorted mass of bass-heavy tones and enigmatic concréte sounds.
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Boomkat Product Review:
Gorgeous half-cut strums and lonesome blooooz broadcast over a cranky shortwave radio signal, a delicate spell pitched at anyone into Neil Young’s ‘Dead Man’ OST, or if u get all tingly imagining yourself listening to Loren Mazzacane Connors somewhere wild and barren in the dead of night...
Catalonian guitarist Andreu G. Serra (aka Ubaldo) and British guitarist Kiran Leonard formed Or Sobre Blau (a Catalan translation of the Portuguese idiom 'ouro sobre azul', or blue over gold) in 2017 when they were both briefly based in Lisbon, and even though their communication was stunted - they rattled together a functional dialect from Spanish, English, Portuguese and Catalan - the music really speaks for itself. At the core of their process is two very different approaches to guitar music: Leonard has a more traditional style, drawing from folk, blues and Americana, while Serra uses pedals and tape loops to abstract the instrument sometimes beyond recognition. It's this fluid interplay that made 'Piri Piri Samplers' a cult breakout, and when they followed it with a tour and residency at Brussels' Les Ateliers Claus, Serra and Leonard made sure they were recording their improvisations.
'O Terço dos homens' expands the tape with an unheard session from the residency, bringing extra conceptual depth and compositional weight to the original set. The duo's restraint is evident immediately, when Leonard's faded, blues-y riffs collide with Serra's subtle saturations on opener 'De passeio pelo Alto de São João'. Both players leave enough room for their contributions to intermingle harmoniously, and Serra's noisy textures - buzzing like a broken air conditioner - add an important roughness to Leonard's relatively straightforward recitations. And when they add more density, like on the rolling, lysergic 'Do Menino Deus', this philosophy holds firm; Serra's thick tonal clouds, interrupted and pitch shifted by his cassette treatments, work like a drone note that roots Leonard's free spirited improvisations.
Even when they careen into instrumental hardcore, tipping their hats to Slint's earliest, grungiest material on 'Da Memória', this understanding of the roles guides their hands, with Serra's piercing feedback dissolving into Leonard's dirt-caked riffs until they sound like a full band. And at their most windswept on the Americana-tinged 'Mártires', Serra's twangy, ferric loops give the recording the character of a broken, ancient amp, or wax cylinder, helping the duo subvert the timeline. 'O Terço dos homens' meanwhile is an entire album's worth of ideas packed into a single 11-minute track, with monastic chants guiding their brittle post-rock riffing at first, before it swells into a distorted mass of bass-heavy tones and enigmatic concréte sounds.
Boomkat Product Review:
Gorgeous half-cut strums and lonesome blooooz broadcast over a cranky shortwave radio signal, a delicate spell pitched at anyone into Neil Young’s ‘Dead Man’ OST, or if u get all tingly imagining yourself listening to Loren Mazzacane Connors somewhere wild and barren in the dead of night...
Catalonian guitarist Andreu G. Serra (aka Ubaldo) and British guitarist Kiran Leonard formed Or Sobre Blau (a Catalan translation of the Portuguese idiom 'ouro sobre azul', or blue over gold) in 2017 when they were both briefly based in Lisbon, and even though their communication was stunted - they rattled together a functional dialect from Spanish, English, Portuguese and Catalan - the music really speaks for itself. At the core of their process is two very different approaches to guitar music: Leonard has a more traditional style, drawing from folk, blues and Americana, while Serra uses pedals and tape loops to abstract the instrument sometimes beyond recognition. It's this fluid interplay that made 'Piri Piri Samplers' a cult breakout, and when they followed it with a tour and residency at Brussels' Les Ateliers Claus, Serra and Leonard made sure they were recording their improvisations.
'O Terço dos homens' expands the tape with an unheard session from the residency, bringing extra conceptual depth and compositional weight to the original set. The duo's restraint is evident immediately, when Leonard's faded, blues-y riffs collide with Serra's subtle saturations on opener 'De passeio pelo Alto de São João'. Both players leave enough room for their contributions to intermingle harmoniously, and Serra's noisy textures - buzzing like a broken air conditioner - add an important roughness to Leonard's relatively straightforward recitations. And when they add more density, like on the rolling, lysergic 'Do Menino Deus', this philosophy holds firm; Serra's thick tonal clouds, interrupted and pitch shifted by his cassette treatments, work like a drone note that roots Leonard's free spirited improvisations.
Even when they careen into instrumental hardcore, tipping their hats to Slint's earliest, grungiest material on 'Da Memória', this understanding of the roles guides their hands, with Serra's piercing feedback dissolving into Leonard's dirt-caked riffs until they sound like a full band. And at their most windswept on the Americana-tinged 'Mártires', Serra's twangy, ferric loops give the recording the character of a broken, ancient amp, or wax cylinder, helping the duo subvert the timeline. 'O Terço dos homens' meanwhile is an entire album's worth of ideas packed into a single 11-minute track, with monastic chants guiding their brittle post-rock riffing at first, before it swells into a distorted mass of bass-heavy tones and enigmatic concréte sounds.
Boomkat Product Review:
Gorgeous half-cut strums and lonesome blooooz broadcast over a cranky shortwave radio signal, a delicate spell pitched at anyone into Neil Young’s ‘Dead Man’ OST, or if u get all tingly imagining yourself listening to Loren Mazzacane Connors somewhere wild and barren in the dead of night...
Catalonian guitarist Andreu G. Serra (aka Ubaldo) and British guitarist Kiran Leonard formed Or Sobre Blau (a Catalan translation of the Portuguese idiom 'ouro sobre azul', or blue over gold) in 2017 when they were both briefly based in Lisbon, and even though their communication was stunted - they rattled together a functional dialect from Spanish, English, Portuguese and Catalan - the music really speaks for itself. At the core of their process is two very different approaches to guitar music: Leonard has a more traditional style, drawing from folk, blues and Americana, while Serra uses pedals and tape loops to abstract the instrument sometimes beyond recognition. It's this fluid interplay that made 'Piri Piri Samplers' a cult breakout, and when they followed it with a tour and residency at Brussels' Les Ateliers Claus, Serra and Leonard made sure they were recording their improvisations.
'O Terço dos homens' expands the tape with an unheard session from the residency, bringing extra conceptual depth and compositional weight to the original set. The duo's restraint is evident immediately, when Leonard's faded, blues-y riffs collide with Serra's subtle saturations on opener 'De passeio pelo Alto de São João'. Both players leave enough room for their contributions to intermingle harmoniously, and Serra's noisy textures - buzzing like a broken air conditioner - add an important roughness to Leonard's relatively straightforward recitations. And when they add more density, like on the rolling, lysergic 'Do Menino Deus', this philosophy holds firm; Serra's thick tonal clouds, interrupted and pitch shifted by his cassette treatments, work like a drone note that roots Leonard's free spirited improvisations.
Even when they careen into instrumental hardcore, tipping their hats to Slint's earliest, grungiest material on 'Da Memória', this understanding of the roles guides their hands, with Serra's piercing feedback dissolving into Leonard's dirt-caked riffs until they sound like a full band. And at their most windswept on the Americana-tinged 'Mártires', Serra's twangy, ferric loops give the recording the character of a broken, ancient amp, or wax cylinder, helping the duo subvert the timeline. 'O Terço dos homens' meanwhile is an entire album's worth of ideas packed into a single 11-minute track, with monastic chants guiding their brittle post-rock riffing at first, before it swells into a distorted mass of bass-heavy tones and enigmatic concréte sounds.
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Boomkat Product Review:
Gorgeous half-cut strums and lonesome blooooz broadcast over a cranky shortwave radio signal, a delicate spell pitched at anyone into Neil Young’s ‘Dead Man’ OST, or if u get all tingly imagining yourself listening to Loren Mazzacane Connors somewhere wild and barren in the dead of night...
Catalonian guitarist Andreu G. Serra (aka Ubaldo) and British guitarist Kiran Leonard formed Or Sobre Blau (a Catalan translation of the Portuguese idiom 'ouro sobre azul', or blue over gold) in 2017 when they were both briefly based in Lisbon, and even though their communication was stunted - they rattled together a functional dialect from Spanish, English, Portuguese and Catalan - the music really speaks for itself. At the core of their process is two very different approaches to guitar music: Leonard has a more traditional style, drawing from folk, blues and Americana, while Serra uses pedals and tape loops to abstract the instrument sometimes beyond recognition. It's this fluid interplay that made 'Piri Piri Samplers' a cult breakout, and when they followed it with a tour and residency at Brussels' Les Ateliers Claus, Serra and Leonard made sure they were recording their improvisations.
'O Terço dos homens' expands the tape with an unheard session from the residency, bringing extra conceptual depth and compositional weight to the original set. The duo's restraint is evident immediately, when Leonard's faded, blues-y riffs collide with Serra's subtle saturations on opener 'De passeio pelo Alto de São João'. Both players leave enough room for their contributions to intermingle harmoniously, and Serra's noisy textures - buzzing like a broken air conditioner - add an important roughness to Leonard's relatively straightforward recitations. And when they add more density, like on the rolling, lysergic 'Do Menino Deus', this philosophy holds firm; Serra's thick tonal clouds, interrupted and pitch shifted by his cassette treatments, work like a drone note that roots Leonard's free spirited improvisations.
Even when they careen into instrumental hardcore, tipping their hats to Slint's earliest, grungiest material on 'Da Memória', this understanding of the roles guides their hands, with Serra's piercing feedback dissolving into Leonard's dirt-caked riffs until they sound like a full band. And at their most windswept on the Americana-tinged 'Mártires', Serra's twangy, ferric loops give the recording the character of a broken, ancient amp, or wax cylinder, helping the duo subvert the timeline. 'O Terço dos homens' meanwhile is an entire album's worth of ideas packed into a single 11-minute track, with monastic chants guiding their brittle post-rock riffing at first, before it swells into a distorted mass of bass-heavy tones and enigmatic concréte sounds.
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