Este fim de semana o Teatro Municipal da Guarda apresenta um espectáculo inédito em Portugal.

Área: Música
Onde: Teatro Municipal da Guarda (POR) no pequeno auditório
A que horas: 21h 30m
Duração: 60M M/4
Bihetes: 5€

Sabrepulse é um músico britânico de 24 anos que utiliza Gameboys e outros aparelhos electrónicos que produzem som a 8 bits para criar música de dança, House e Breakbeat.

Sabrepulse integra o leque de artistas do chamado movimento Chiptune em Inglaterra, participando anualmente em digressões internacionais, com o Chiptune Alieance Tour, actuando nos EUA, Japão, e em vários países da Europa e da América do Sul.

O artista desde cedo se viu influenciado pela era dos videojogos, ou melhor, pelo som de 8 e 16 bit dos videojogos e começou a fazer música a partir de Gameboys em finais de 2003, com a ajuda de de uma mesa de mistura.

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Review by Ben Thompson on,
The Observer

If you hadn’t ever heard a record by this Malian husband and wife duo, but had only read of their initial meeting at Bamako’s Institut des Jeunes Aveugles in the punk rock year of 1976, and the heart-warming showbiz odyssey that led them to their current exalted status as improbable figureheads of African music’s commercial upsurge, it would be all too easy to think of Amadou and Mariam as a kind of Afropop Peters and Lee. But while the ability to dispense feelgood vibrations from within a doubly reinforced stockade of blindness and domestic felicity has been a feature of their ever-widening allure, it is the spindly irresistibility of their music that is the most important thing about them.

Both the powerhouse blues-rock guitar of Amadou Bagayoko and the sweetly stentorian voice of Mariam Doumbia contain severity as well as gentleness. The potent personal chemistry through which these impulses are resolved places the Malians firmly in the lineage of such charismatic outriders of yin/yang balance as the Carpenters, Sonic Youth and the White Stripes. And such is the inviolate solidity of the duo’s high-tensile core that none of the consequences of the success they’ve enjoyed – not even Amadou suffering the indignity of being called ‘a fucking geezer’ by Damon Albarn in this mag last month – seems to have had the slightest impact on it.

Compare this new album’s most obvious stylistic departure – the opening single ‘Sabali’, in which Albarn’s spookily disembodied production boldly relocates Mariam’s whispered sweet nothings within a musical landscape that somehow evokes both Mercury Rev and Jean Michel Jarre – with the apparently more homespun recordings on the superb 2006 compilation 1990-1995: Le Meilleur Des Annees Maliennes. For all the novelty value of Damon’s wonky electro-pop arpeggios, the earlier work has just as much to offer.

The bridge between these two very different sounds was 2005’s breakthrough Dimanche à Bamako. Say what you like about Manu Chao’s terrible fashion sense, but there’s no denying he did a great job of introducing Amadou & Mariam to a wider audience via the addition of strategic background noise.

And the great thing about this follow-up is the way it builds on that foundation without lapsing into self-consciousness. Amadou & Mariam glide smoothly through gear changes that would strip the teeth of a less well-tuned musical motor: from the garage-rock of ‘Ce N’est Pas Bon’ to the comical disco-drums of ‘Djama’, from ‘Djuru”s solemn kora to the euphoria of ‘Africa”s ‘West Coast/East Coast collaboration’ with Somalian rapper K’Naan.

Talking in last month’s OMM about how much he enjoyed Deep Purple and Led Zep as a teenager, Amadou said ‘to us it didn’t sound British, it sounded African’. He means this not in some sense of all music being African, but as a reflection of the universal applicability of Ian Gillan or Jimmy Page’s very specific attributes. And that is how Welcome to Mali will be appreciated by an audience of millions: not as ‘world music’, but as the product of an authentically global pop phenomenon.


The African duo met at a school for the blind and have since written a song for the 2006 World Cup and their latest album features production by Damon Albarn.

LABEL: Nonesuch
RELEASE DATE: 24 March 2009
DISCS: 1 disc
GENRE(S): World

NOTES: Original European has been released in 17 Nov 2008.

3 Jul 2009 20:00
Hyde Park : supporting BLUR, London

7 Jul 2009 20:00
Manchester International Festival, Manchester, UK

8 Jul 2009 20:00
Manchester International Festival, Manchester, UK

10 Jul 2009 20:00
The Amphitheater at Clark County (supporting Coldplay) Portland, Oregon

11 Jul 2009 20:00

The Gorge Amphitheatre (supporting Coldplay) George, Washington

13 Jul 2009 20:00
Shoreline Amphitheatre (supporting Coldplay) San Francisco, California

16 Jul 2009 20:00
Cricket Wireless Amphitheatre (supporting Coldplay) San Diego, California

18 Jul 2009 20:00
Home Depot Center (supporting Coldplay) Carson, California

21 Jul 2009 20:00 Center (supporting Coldplay) Dallas, Texas

22 Jul 2009 20:00
Cynthia Woods Mitchell Pavilion (supporting Coldplay) Houston, Texas

22 Jul 2009 20:00
Cynthia Woods Mitchell Pavilion (supporting Coldplay) Houston, Texas

24 Jul 2009 20:00
Verizon Wireless Amphitheater (supporting Coldplay) Maryland Heights, Missouri

28 Jul 2009 20:00
iTunes Festival at the Roundhouse, Camden, London, UK

6 Ago 2009 20:00
Fiesta Sète Sète

7 Ago 2009 20:00
Nuits du Sud Vence

8 Ago 2009 20:00
Porto Latino Saint-Florent

9 Ago 2009 20:00
Big Chill Festival Eastnor Castle

Official Site:

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Nuno Miguel Henriques

“Nuno Miguel Henriques estudou Teatro e interpretação. Autor, Encenador, Co-produtor e Actor de Teatro, Assinalou em 2007, 20 anos de Teatro. Colaborou em mais de meia centena de peças de Teatro em centenas de representações em mais de 400 localidades do continente, regiões autónomas e estrangeiro.” 1

Nuno Miguel Henriques é apenas o nome do homem que viaja e transporta em Portugal de vilarejo em vilarejo, de aldeia em aldeia, mas também em cidades (embora que a preferência não caia nestes lugares), poemas ditos de Fernando Pessoa, João Villaret, entre outros. Os poemas são apresentados num sentido representativo figurativo, mas não no sentido representativo teatral, se bem que o teatro também se faz sentir nas suas apresentações. Através das palavras cria uma espécie de encantamento recital, que faz despertar os sentidos pela intensidade do som e das emoções que são provocadas pelas palavras e pelo seu sentido. Os poemas fazem-se acompanhar por música, um elemento que mais tarde ou mais cedo foi apercebido como fundamental no acompanhamento das intensidades figurativas que se apresentam nos poemas.

Existe um sentido híbrido neste trabalho de Nuno Miguel Henriques. Não se pode dizer que este projecto é um projecto de teatro, ou música ou poesia, ou que aquilo que Henriques faz é um recital de poesia, nada disto é certo, nada disto é concreto, apenas tudo isto se sente e tudo isto é intenso.

O que é de enaltecer é o sentido que Nuno Miguel Henriques quis dar ao seu projecto. O sentido descentralizador está anexado à sua apresentação e aos locais onde a faz. Regra geral, nota-se uma preferência por lugares onde existe um número muito reduzido de pessoas, e que por norma é no interior do país. A razão pela qual Henriques o faz é por saber conscientemente que aquelas pessoas precisam também elas de cultura e se elas não têm meios para chegar a centros culturais ou outros lugares da cultura por impossibilidade móvel, porque não fazer com que a cultura chegue até elas? É esta a questão que dinamiza este projecto, é esta a questão que deve ser colocada por todos nós. Recomendo!

Ver Vídeo [Watch the Video]

“Nuno Miguel Henriques studied Acting and worked as an author and as a theatre director, producer and actor. In 2007 he celebrated 20 years of a career dedicated to the stage. He participated in more than 500 theatre plays and in hundreds of stage adaptations that were performed in more than 400 locations in Portugal, Madeira and Azores and abroad.”

Nuno Miguel Henriques is just the name of a man who travels around the country reading poems by Fernando Pessoa, João Villaret and others, from town to town, from village to village, and also from city to city – although these aren’t his favourite areas. The poems are presented in a figurative-representative way but not in a theatrical-representative one, even though you can still feel the dramaturgic influence in Henrique’s presentations. His way of conveying words is filled with a kind of enchantment which awakens the soul by the intensity of the sound and the emotions unleashed by the words and their meaning. The poems are accompanied by music, which turned out to be considered a crucial element in the representation of the figurative intensities contained within poetry.

There is a hybrid notion in the work conducted by Henriques. We cannot say that this is a project about theatre, music or poetry, or that what Henriques does is to recite poetry. None of it can be certain. None of it can be concrete. It can only be felt. And it feels somehow intense.

What should be praised is the entire concept that Henriques brought into the project. Its decentralised approach is linked to the recitations and the places where he delivers them. The common aspect of all the shows is the preference for areas where there is a reduced number of inhabitants, which is usually inland. The reason why Henriques does it is because he knows these people need culture too. If they don’t have the means to reach cultural centres and places due to transport limitations, then why not bring culture to them? This is the logic behind the entire project and the question we should all ask ourselves. We recommend it!

Escrito por [Written by]: Jorge Reis

Translated by: Maria José Anjos

Comente este projecto [Coment this project]


“…O seu nome é Deolinda e tem idade suficiente para saber que a vida não é tão fácil como parece, solteira de amores, casada com desamores, natural de Lisboa, habita um rés-do-chão algures nos subúrbios da capital. Compõe as suas canções a olhar por entre as cortinas da janela, inspirada pelos discos de grafonola da avó e pela vida dos vizinhos. Vive com 2 gatos e um peixinho vermelho…”

Esta é a personagem que dá nome a este interessante projecto musical. Quando oiço a música deles, não consigo defeni-la em nenhum estilo, e isso agrada-me. Sinto o fado lisboeta, mas não é fado lisboeta que oiço é algo de mais contemporâneo, mais libertador. No fundo não estou muito interessado em saber se de facto se pode classificar a música deles num parâmetro qualquer da musicalidade que lhes é característica, só sei que é música, e deveras de excelente qualidade. Para além do fado que se faz transpirar neste projecto, existe um não sei quê de samba, jazz, e rembetika grega. Originalidade é sentida por um contagiante humor perspicaz, cujo ponto de fuga incide na cultura do fado e no quotidiano da sociedade portuguesa. Grupo em vertiginosa ascensão e de merecida valorização pelo trabalho que apresentam.

Deixo alguma matéria áudio e acesso à página Myspace deles para que possam deixar uma opinião acerca da Deolinda. A minha expressei já acima! Quero ainda enaltecer os temas “Movimento perpétuo associativo”, “Fon Fon Fon”, e “Clandestino”.

Site Oficial:DEOLINDA
[Official Site:]

illustration by João Fazenda

Ana Bacalhau (Voz [Vocals])
Luís José Martins (Guitarra Clássica, Ukelele, Cavaco, Guitalele, Viola Braguesa e Voz [Classic guitar, ukelele, guitalele, viola braguesa e vocals])
Pedro da Silva Martins (Composição, Letrista, Guitarra Clássica e Voz [Songwriter, classic guitar and vocals])
Zé Pedro Leitão (Contrabaixo e Voz [Double bass and vocals])

Excerto do concerto de comemoração de aniversário da Fnac – transmissão da Antena3
Extract from Fnac’s anniversary concert – broadcast by Antena3

Track “Garçonete da Casa de Fado”
8,68 Mb
6:20 min
Bit Rate 192 kbps

“…Her name is Deolinda and she is old enough to know life is not as easy as it looks. She is single when it comes to affection and married when it comes to aversion. Born and raised in Lisbon, she lives in a ground floor flat somewhere in the capital’s outskirts. Peeping through her window’s blinds, she writes songs inspired by her grandmother’s gramophone records and by her neighbours’ lives. She lives with two cats and a golden fish…”

This is the character behind the name of this interesting musical project. When I listen to their music, I cannot label them in a genre, and that pleases me. I feel fado from Lisbon, but it isn’t fado from Lisbon that I hear. What I hear is something more contemporary, with more freedom. In the end of the day, I’m not actually interested in knowing if I can place their music within the musical parameters characteristic to their sound. The only thing I know is that it’s music and it’s extremely good. Apart from the obvious fado influences that transpire in this project, there are also pinches of samba, jazz, and Greek rembetika. It is original and has a contagious humorous element which takes the fado culture and the day-to-day life of Portuguese society as an escapade. Already rising astonishingly, this is a group who deserve all the appreciation for their music.

Below you can have a taste of their work and the link to access their Myspace page where you can leave comments on Deolinda. I’ve made my point already! I also want to praise their songs “Movimento Perpétuo Associativo”, “Fon Fon Fon” and “Clandestino”.

Translated by: Maria José Anjos

comente este projecto [coment this project]