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SOUND | Concert

Photo Credits _ Filipa Ávila

Parque Aquilino Ribeiro
July 8th

Throughout Sun Oddly Quiet’s four compositions, João Pais Filipe opens a dialogue with the listener. Be it a return of the homonymous album (Lovers & Lollypops, 2018), a connoisseur of the involvement with HHY & The Macumbas, CZN or of the collaborations with Evan Parker, Rafael Toral, Black Bombay and Burnt Friedman. Or even someone who crosses for the first time with the rhythms of the musician born in Porto in 1980. The conversation between the musician and the other side exists for João Pais Filipe to open the portal of his domain and challenge whoever enters to understand the uniqueness of the intricate rhythms that give life to XV, XIII, XI and V.

In the first album, he was inspired by electronics / dance / techno that evolved from krautrock percussion to kick talent at will. In Sun Oddly Quiet, right in “XV”, he abandoned, with all the voluntarism, the preconceptions that exist and ventured on a new road without any map. He is groping for new ground in his solo career, evidencing that he does not want a single association to his work, and that the listener perceives him as a composer / percussionist and not just as only one of those parts. Except that João Pais Filipe knows where this new and unknown is going, because he has traveled this path time and time again and again. He is a musician without fear of what is beyond. 


João Pais Filipe is a percussionist, drummer and sound sculptor from Porto. Futuristic and traditional. Ethno techno. He has been around experimental music for a long time, he was part of projects like Fail Better !, Space Quartet, Sektor 304, HHY & The Macumbas or Talea Jacta. In 2018 he debuted with a self-titled solo album. This year he debuts in an installation of gongs built by himself, each sculpted in different shapes and reliefs, with simultaneously archaic and avant-garde symbols, organic and metallic, sacred and profane, that he wants a spiral suspension (from the name “Voluta” ), extending the circular trip to delete on his homonymous debut album. Despite the apparent difference – the musician and the handmade gong maker (and other instruments) – it is all part of the same cosmology, in which also the visual artist who seeks with the sound the expression of a three-dimensionality, visionary of a sonority that first it projects in the imagination and then finds its shape only in the instrument that it builds or customizes to access this visionary exercise of sound, either through the manipulation and transformation of pre-existing materials, which in the album materializes through the customized sound of skins and wood , or in the private collection of gongs that he has been building for the past almost 10 years