Obrigado ao Romeu e à Julieta da Margem Sul por me terem mostrado isto, ficarei eternamente grato por este momento.
Vai em especial para o pessoal que curtiu e ainda curte a noite moçambicana ao som de C4 Pedro, esqueçam-no, agora existe C3 Paraíso com o seu novo som:
Dia 20 de Agosto postei – Doc sobre os Buraka estreia em Londres | Via redbull.com
Hoje saiu o trailer!
After two years in the making, the documentary that captures on film the incredible life and story of Buraka Som Sistema is almost here. ‘Off the Beaten Track’ is the documentary that goes deep into the life of Lisbon’s most unlikely band, exploring the group’s inspiring international career from its earliest stages to headlining festivals across the globe. It’s not just about the beats though, as the band itself will take the viewers on a trip to meet the cities and people that helped shape the sound of the group that redefined world music. While the premiere is still a few weeks away, you can now watch the official trailer right here, or visit www.offthebeatentrackmovie.com for all the details.
Via The Telegraph
“Ten years ago in June Arctic Monkeys played their first-ever gig. Having formed at school, the teenage band were performing at the Grapes, a pub in the centre of Sheffield, though their frontman and chief songwriter was not even old enough to drink in it.
So what, I ask Alex Turner, were his aspirations that night? ‘Just to get to the end of the night and pull the bird that I fancied that I’d got to come down,’ Turner, 27, says, chuckling. ‘Yeah, that was it. But we had practised so much beforehand, and it was a major deal just to go and play somewhere. I’d never been on a stage in my life before that. I don’t think I opened my eyes for the whole set. But that 25 minutes – wow,’ he whispers.
Arctic Monkeys are unique among major British bands of the past 20 years in that they have hung out together nearly all their lives – unlike Oasis (warring brothers, a revolving door), Radiohead (met at secondary school), Mumford & Sons (formed in their late teens and early twenties), Blur (coalesced out of art-college circles) or Coldplay (university pals). They grew up together in High Green, a northern suburb of Sheffield. ‘We’ve known each other, all us four, for 20 years, since we were seven years old,’ Turner says.
Having been friends long before they were bandmates must make a difference, I suggest. It engenders a kinship, a closeness that is far deeper than simpatico musical tastes or ambitions. ‘That’s totally correct,’ Turner says. ‘That’s what it is, and it’s been that since before we were a band. And that is quite unusual. And I perhaps took that for granted for a while. But I understand how important it is now.’
‘We are quite lucky, we all look at everything the same,’ Jamie Cook, 28, the band’s guitarist, cheerful football fanatic and gym-goer, says. ‘“Should that be black or white?” – that’s as complicated as it gets. “Which one of these photos is best?” Which is quite boring, really. No punch-ups, no arguments. We’ll have to start lying, say we hate each other!’
In fact Arctic Monkeys are probably closer than they have ever been. All four of them now live with their girlfriends a short drive away from each other in Los Angeles. It is the first time they have all lived in the same place since they burst out of Sheffield in late 2005, when they entered the charts at number one with I Bet You Look Good on the Dancefloor. It was their first proper single, and the out-of-nowhere feat was ascribed to their fans sharing songs over the internet, a then unknown phenomenon. The songs that followed – street-real vignettes such as Mardy Bum, When The Sun Goes Down and Riot Van – captivated and energised a generation like no British band since Oasis.
We meet late in the morning at the St Pancras station hotel in London, and Turner is feeling bleary, which may explain the sunglasses he is wearing indoors. ‘I woke at five this morning, and I just could not get back to sleep,’ he says. He is not sure why. It can’t be jet lag as the band flew into London from LA six days ago. ‘I don’t know what it was,’ he says, his broad Sheffield accent undimmed by seven years touring the world. ‘I got a relatively early night last night, then I woke up having a bit of a nightmare – you know that mad [thing] where you think the world’s stopped spinning?
‘I have come up with quite a lot of tunes at that time, and got ideas in that state,’ he adds. ‘But then this morning I couldn’t be arsed.’ He shrugs. ‘We’d just finished the album the other night and I was like, “No more… let’s leave it for a bit.”’ Even a semi-obsessed writer and wordsmith like Turner sometimes has to stop.
Arctic Monkeys’ new album, AM, is the product of almost a year’s work in a rented studio located a quick mile from their homes in the Hollywood Hills. Turner (vocals and guitar), Cook, Nick O’Malley (bass) and Matt Helders (drums) began making it shortly after their rollicking performance at the Olympics opening ceremony, the public debut of the Hamburg-era-Beatles quiff and vintage rock ’n’ roll-style clobber that Turner sports today. They spent longer making this album than they did any of their previous four, with particular emphasis on ‘vocals and vocal production’. It was out with the melodic, punky vigour of Whatever People Say I Am, That’s What I’m Not (2006), and with the heavier rock sounds of Humbug (2009) and Suck It and See (2011). It was very much in with slower songs, soulful moods, poetic lyrics, beats that must almost be described as hip hop, and falsetto harmonies aplenty. The result is easily the best album the band have made since their record-breaking debut, the album that, at the time, was the fastest-selling debut in British history. AM is as elegantly cool as its title.
‘This new record is us raising the bar as recording artists, whereas over the last few years we’ve raised the bar as a live band.’ In print, that sounds bald and bumptious. The way Turner says it – thoughtfully, quietly – it comes over as entirely reasonable. Those designer sunglasses (Oliver Peoples) might suggest affectation, but he is mostly as unassuming as he was when I first met him eight years ago.
‘This time it was a lot more considered. And I’m a lot happier as a result with the outcome. I think there’s something original about it that we’ve never had on an LP before. And sort of no one has, really, I think. Without coming across as really arrogant, I think it is a record that’s not been made before, stylistically. I think it’s a sound that’s not been there before, which is really exciting for me.’
This meeting is the first of four encounters we will have over the summer. Two weeks on, Arctic Monkeys play the biggest gig of their career: headlining the Pyramid Stage at Glastonbury. They have topped the bill there before: in 2007 they performed last on the main stage, a scant 18 months after the release of Whatever People Say I Am. It was, by popular consent, something of a disaster. The rain was horizontal, the PA was under-powered, and the band were underprepared. The alacrity of their rise spoke of the country-transfixing ‘youthquake’ their music had caused. But for all their prodigious output in that period (two albums, a five-track EP, a non-album single, a short film), they were not yet a festival headline band.
‘We didn’t really put any effort into the show side of things,’ O’Malley, 28, will later admit. That attitude was of a piece with the refusenik nature of the young Monkeys (no television shows, avoid award ceremonies, as few interviews as they could get away with). ‘I think we regretted that a bit after.’
There is, accordingly, a lot to live up to at Glastonbury 2013. Plus, they are opening a weekend where the other headliners are the Rolling Stones (playing the event for the first time) and Mumford & Sons (the folk-influenced outfit who are the biggest British band worldwide right now). ‘I suppose we have something to prove,’ Turner says. ‘But we’re in such a different place now in a way, aren’t we? Then we’d just banged those two records out, we were still the new kids in town in a way. Whereas we don’t have that any more. We’re a bit more of a beast now.’
Fifteen days later, the 100,000-plus people gathered in front of the Pyramid Stage are celebrating loudly even before Arctic Monkeys spark up. The band’s carefully constructed, singalong pre-show mixtape (Oasis’s Don’t Look Back In Anger, George Harrison’s My Sweet Lord, John Lennon’s Imagine) has perfectly set the scene, and over the next couple of hours they take the confidently safe route: a greatest-hits set, with only a couple of songs from AM, which will not be released for another 10 weeks. The weather has played ball, and so has the PA. It is a job brilliantly done.
Turner, Cook, O’Malley and Helders are justifiably thrilled, not to say relieved, and celebrate by hanging around for the weekend. The next night they watch the Rolling Stones from the side of the stage. ‘That was amazing,’ Turner tells me afterwards. ‘I’d never seen them before. And from where we were watching there was this little partition behind the drums, and we could see them all before they went on. And it wasn’t like they all got out of different dressing rooms and went onstage; they were all stood there, having a buzz, laughing. Then off they went and did their thing. And whenever they went offstage you could see they were loving it, chatting and stuff. And you thought, “Yeah, the Stones are still a gang.” Which was really cool to see, actually.’
The next time we meet, almost a month later, the location is rather different: the Théâtre Antique, an 8,000-capacity, 2,000-year-old Roman amphitheatre in the small town of Vienne, close to Lyon in the south of France. Playing table tennis backstage after the evening’s show, Turner says he loved the gig. But as he did at Glastonbury – and as he does normally – he deployed old- fashioned formality for the French fans (‘Good evening, ladies and gentlemen…’) and adopted a stage persona, part southern preacher man, part northern bingo caller. ‘I can’t go out there and absolutely be myself,’ he tells me, adding that he has always put on some kind of act. ‘The situation is so fundamentally unnatural. It’s supposed to be that way – that’s what it is; it’s a show. So whether it was the cocky kid in the Lacoste T-shirt [that I used to do] or whatever, it’s all kind of an act to some extent. But…’ He frowns. ‘It’s not a full-on, “right, get into character” thing. It’s some sort of extension, maybe, of who I am actually. There have probably been times along the way where you have been overwhelmed by something, and part of how you actually feel comes out… But I think I always feel weird about that afterwards.’
Three weeks later Turner and I speak for a final time. He is on the phone in an SUV in New York, being ferried between American press engagements. He sounds dog-tired, and not just because he is working his way through Crime and Punishment (‘I’ve got to catch up on the classics sooner or later,’ he says in his slightly ironic, deflective manner). Arctic Monkeys have finished their summer shows and have just had a few days’ break in LA. Next they will fly back to Britain, where they will start ‘figuring out how to play’ songs from AM in advance of a heavy international autumn and winter concert schedule, including a sold-out British arena tour in October.
I had asked Cook if LA offers a respite from the fan fervour of home, where the band have won five Brit Awards and where all four albums released so far have entered the charts at number one. ‘Erm, yeah,’ he replied, hesitantly. ‘But I don’t think we ever had any madness at home. We just headlined Glastonbury and we can all still walk in a pub together and nine times out of 10 no-one will blink an eye. You don’t get much hassle at all. I suppose Al gets it more, but he can still walk around and do his daily stuff. It’s quite strange how we’ve got away with it really,’ he said, laughing.
Their LA life, Helders, 27, insists, is not one of large-living expats or A-list celebrity excess. Three of them have bought fancy motorcycles (O’Malley plans to follow suit soon), and Helders also has a muscle car (a 1969 Camaro), but those appear to be their only rock-star habits, and they’re certainly not profligate. ‘We’ve got plenty of people around us, like our management, telling us if we’re trying to do something stupid,’ Helders says. ‘I mean we can still do what we want, but I just respect those people enough that they keep me in check.’
Four albums in, does Turner ever look back at Arctic Monkeys’ hectic, hyped early days? ‘I don’t really, no. A fleeting moment every now and then if someone asks me. But in terms of being busy day-to-day, I don’t feel any difference between then and now. All that stuff was in the exterior, out on the perimeter… I can’t really remember to tell you the truth,’ he says, laughing, just. ‘Yeah, what did we do? We put that album out, everyone went mad for it…’ An audible shrug. ‘But as far as our day-to-day, we still do the same stuff now – do things like this [interview], then do a show.’
And what about the girl he was after on the night of their first gig? ‘I don’t think I did pull the bird,’ the singer says. Then a winked coda. ‘Not that night.’”
“Ever fancied hitting the road with one of the most exciting bands on the planet? Well, soon you can and you won’t even need your passport.
The documentary Off The Beaten Track follows Portugese electronic music makers Buraka Som Sistema over the course of a year as they travel to the likes of Luanda, Caracas, Paris, India, London and the Lisbon suburb of Amadora.
The film will show how the four core members Li’l John, DJ Riot, Conductor and Kalaf have been influenced by the places, sounds, people and cultures they’ve visited.
Directed by visual artist Kate Moross and created in association with Red Bull Media House, Off The Beaten Track aims to give us a unique insight into the creative process as we join the Lisbon foursome on a trip around the world and back to the studio in a search for inspiration.
The brand-new teaser trailer is now live over at www.offthebeatentrackmovie.com.
Buraka Som Sistema will be embarking on a European tour in October, kicking off in London on the 10th and finishing in Leuven, Belgium, on the 19th, taking in Berlin, Paris and Amsterdam along the way. ”
Com o lançamento do novo álbum Kveikur (priming) a banda continua a produzir sempre algo para além da música desta feita poderão no link abaixo ouvir e ver algumas das músicas do novo álbum num concerto em 360º.
Outra das ideias para este novo álbum foi:
“this interactive music video brings to life our new song stomur, which translates from Icelandic as powerful gale, a force able to disrupt and alter all that comes in its path.
we’re setting out to create an ever changing and always altering live music video, powered by all of your instagram video responses to this new song.
to be part of our film, simply record your instagram interpretation of the track and tag your film with #stormur.”
Podem assistir AQUI ao vídeo da música Stormur