Video for "Depois das Cinzas, Será Que Há Ressurreição?":
www.youtube.com/watch?v=GuXDGo2IW1Y
vimeo.com/408976121
Also available on Hamfuggi Records:
hamfuggirecords.bandcamp.com/album/cinzas-ou-requiem-para-rios-mortos
GC Sound Artifacts' Archive page:
archive.org/details/cinzas-ou-requiem
Este trabalho é dedicado in memoriam aos rios atacados pela ganância
humana e a todas as vítimas dos desastres ambientais nos recentes anos brasileiros. Mariana, Brumadinho, Xingu, Amazonas e suas populações ribeirinhas... Nada haverá de ser esquecido.
This work is dedicated in memoriam to rivers attacked by the human greed and to all victims of environmental disasters in recent Brazilian years. Mariana, Brumadinho, Xingu, Amazonas and their riverside populations... Nothing will be forgotten.
Este trabajo está dedicado en memoria a los ríos atacados por la codicia humana y a todas las víctimas de desastres ambientales en los últimos años brasileños. Mariana, Brumadinho, Xingu, Amazonas y sus poblaciones ribereñas... Nada será olvidado.
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This album is part of a succession of instrumental works I’ve made in 2019 in which there’s no particular order of chapters, nor a similarity of sound direction, but a common thematic link: absence. All of these works expresses what I felt after the latest Brazilian presidential elections and overall social-political state of mind in the world. In “Insomniac Dreams”, the absence of rest and sleep. In “Antimanicomial”, the absence of sanity in its helplessness. In “Duets for Balogh”, the ghost of a friend. “Longes” is about absence of faith. And in “Cinzas”, the absence of care on nature, a mourn for dead rivers. ”Cinzas” was written and recorded in February 2019, having in mind the absolute disparity between Carnival (despite its critical nature) and the recent disaster of Brumadinho (after what happened in the city of Mariana in November 2015, also in Minas Gerais), in January 25th 2019, in which a barrage from the steel company Vale was broken, spreading toxic waste on the rivers, also killing animals and inhabitants. It’s a crime which hadn’t a satisfied solution still in this present day, and I wanted to convey the feelings of anger, sadness and revolt in a music that could be both personal and universal. I’m from the city of Salvador, a seaside urban region that has not taken much care about its rivers in most of its history, and I want to state my sadness upon this carelessness. (And now, with the current political period in Brazil, the intolerable became officially part of the game.) ”Cinzas” is not only about what happened in that ecological disaster and its negligent punishment; it’s part of a continuing search of a contemporary Brazilian Northeastern sound on guitar, in a meeting between urban and rural aspects in my music. The acoustic guitar with delay was plugged in a bass amplifier (except on three tracks, which was recorded with the guitar plugged in my computer), and recording aimed to capture both the acoustic ressonances and the electricity of the sound. “Cinzas” is an intimate recording as well in which I also experimented playing my guitar from little to no light at all in my bedroom. I wanted to achieve a really dark experience out of my this recording set, despite the echoes from the delay pedal and loop experiments.