Ricardo Dias Gomes & Momo & Toth & Jeremy Gustin

Noite absolutamente irrepetível, esta que vai unir em palco Ricardo Dias Gomes (da Banda Cê de Caetano Veloso e que teve Arto Lindsay como colaborador no seu mais recente álbum), Momo (o brasileiro Marcelo Frota, que contou com a participação de Camané no novo disco e conquistou fãs como Patti Smith), Toth (multi-instrumentista de Brooklyn com um registo que evoca Arthur Russell) e finalmente Jeremy Gustin (dos Star Rover e também um dos mais requisitados bateristas nova-iorquinos, colaborador habitual de David Byrne e Marc Ribot). Os quatro vão juntar-se pela primeira vez para um concerto dividido em três partes, onde cada um cantará temas do seu repertório, sempre acompanhados pela bateria de Jeremy Gustin, o amável curador desta união de talentos internacionais em Lisboa.

/////

RICARDO DIAS GOMES
“Between the snake’s belly and the ground, between the closing door and the fleeing finger, between the end of the day and the fall of night: there is the music of Ricardo Dias Gomes.” Arto Lindsay. A respected innovator on the Rio de Janeiro music scene since the mid 90s, Gomes is best known for his work on the trio of critically-acclaimed albums Caetano Veloso released in the late 00s: Cê (2006), Zii and Zie (2009) and Abraçaço (2012). Playing bass on these modern milestones in post-Tropicalia, and subsequently touring the world with Veloso, inspired Gomes to record his debut album -11, released in 2015. On -11 Gomes played all the instruments himself and relied solely on his instincts in terms of the direction to take: The Wire praised the album saying it “recalls other rough and ready highly personal solo debut albums by Laetitia Sadier and Money Mark” whilst the Chicago Reader fell for it’s “weirdly hermetic sound world, alternating between tender, introspective ballads, rude electronic grooves, and dissonant ambience”.Gomes now lives in Lisbon and is about to release mini-album Aa – featuring Arto Lindsay – via SDZ records in Europe and Kill Shaman in North America this summer.
https://ricardodiasgomes.bandcamp.com/releases

MOMO
“Sem dor, com fé, perdão/O meu destino não é solidão”. Com os versos de Esse Mar, faixa que abre Voá, MOMO (Marcelo Frota) nos convida a uma viagem poética, solar e leve de sensibilidade aguda e de amor, uma atmosfera que permeia o disco todo. Com produção de Marcelo Camelo, o sucessor de Cadafalso (2013) foi gravado em Lisboa, cidade onde ambos os músicos brasileiros hoje residem, e lançado pela Universal Music Portugal. Nele, MOMO contou com a parceria em cinco canções do poeta Thiago Camelo, irmão do produtor, e Wado em Nanã – faixa que conta também com Mallu Magalhães nos vocais –, além da participação do grande fadista português Camané na faixa Alfama, homenagem ao bairro onde Frota viveu.  “Momo é um ouro da nossa geração”, com sua voz de veludo e seu violão de marinheiro", diz Marcelo Camelo. "Um canto tão particular quanto profundo mas num registro de beleza universal". Os quatro álbuns anteriores, A Estética do Rabisco (2006), Buscador (2008), Serenade of a Sailor (2011) e Cadafalso (2013), receberam elogios da crítica especializada no Brasil e fora do país, tendo conquistado fãs como Patti Smith e encontrado seus lugares em diversas listas de melhores discos do ano. 
https://www.facebook.com/momooficial

TOTH
Tōth is a new project of Brooklyn multi-instrumentalist songwriter Alex Toth, known for collaborating and writing with Kimbra, Alexander F, Rubblebucket and others. As Tōth, he presents his most vulnerable songs and performances yet, often sung in a style reminiscent of Arthur Russell, while also adding trumpet loops and guitar. Forthcoming debut album mixed by Andrew Sarlo (Big Thief, Nick Hakim). "....one of the least complacent songwriters around" - Stereogum
https://www.facebook.com/tothtunes

JEREMY GUSTIN
The Ah, a unique sound world concocted in the mind of New York City-based musician Jeremy Gustin. Known best for his talents on the drum set, Gustin has recorded and toured the world with the likes of Delicate Steve, David Byrne, Rubblebucket, Marc Ribot, and many more. On ‘Common Bliss,’ Gustin shares his personal music with the world for the first time, opening the door to The Ah for all to enter. Though instead of considering this music a “solo project,” Gustin instead views The Ah as a collaboration with his own imagination and the world around him. This mentality makes way for an openness and liberation, letting the sounds come to him through dedicated experimentation instead of seeking them out. 
‘Common Bliss’ is a largely electronic record, utilizing sampling techniques, synthesizers, and drum programming to create a cohesive signature sound with enough personality to exist in a league of its own. Though it fits into no preconceived mold, The Ah tastefully borrows subtle stylistic idiosyncrasies from a multitude of genres such as pop, dub, hip-hop, idm, and even world music, further contributing to its originality. Given Gustin’s background as a committed musician, these songs are fully developed structurally, indicating a songwriter’s approach to creating left field electronic music. Melody plays a central role here, traversing a variety of moods throughout the album like a cinematic safari through a colorful topography. Ironically enough, there is no drum set present on this record, though Gustin’s talents for rhythm are applied to thoughtful electronic programming, revealing inventive patterns and textures that venture toward more complex rhythmic structures than your average 4/4 looping.
What makes the music of The Ah truly stand out is it’s use of field recordings and organic found sounds to literally breathe life into the music. Frogs, sheep, dolphins, guinea pigs, and baby rhinos are just a few of the creatures that accompany these tracks. Humor and unpredictability are put to good use - the cartoonish, zany samples ping pong their way throughout the tracks, giving the album a candy-coated quality, steeped in colorful psychedelia. The incredibly lyrical melodies make it easy to imagine vocals, but Gustin instead opts for abstraction through sampling, pushing narrative and context to the back seat in order to make way for fun and imagination, but also for more complex emotions and ambiguity. This emphasis on playfulness gives some insight into the mind of it’s creator: Gustin goes beyond the motions of merely “making a record” and instead has crafted a whole world of his own to innocently explore, a by-product of creative practice and the process of making music without expectation. The Ah is a prime example of a highly personalized music that is a pure and direct extension of it’s creator.
https://nnatapes.bandcamp.com/album/common-bliss