With only an electric guitar, Luis Lopes (Humanization 4tet) Love Song presents the mostly composed work "Post-Ruins", recorded live at Teatro Maria Matos, in Lisboa, using notes, intervals and chords chosen with the intention of transmitting the perception of an eternalized moment occupying the space like a sculpture, full of emotions, infinite in itself.
Squidco Freedom Sale!:
Shipping Weight: 2.00 units
Quantity in Basket: None
Log In to use our Wish List
Catalog ID: SHH050CD
Squidco Product Code: 27587
Packaging: Cardboard Gatefold
Recorded live at Teatro Maria Matos, in Lisboa, Portugal, on May 18th, 2016.
Luis Lopes-electric guitar
Click an artist name above to see in-stock items for that artist.
Highlight an instrument above
and click here to Search for albums with that instrument.
• Show Bio for Luis Lopes
"Averse to any linearity, the idiosyncratic Luís Lopes, a musician connected to Jazz, improvised and experimental music, has been building his career, a simple and singular story, characterised by a unique voice, free of corsets, formal ties or constraints and mannerisms regarding strict stilistical implications. He is an unfollower... experiments himself through paradoxes. Invokes teachings by following standards of subversion to any possibility of pre-established idea. Eminent self-subversion... Introspective timeless trance.
Running Multi-international groups, especially his Humanization 4tet (with Portuguese Rodrigo Amado and Texan's Aaron and Stefan Gonzalez), Lisbon Berlin Trio (with Germans Christian Lillinger, Robert Landfermann), and his "Noise" or "Love Song(s)" Solos, plus his highly recommended records he is growing as an international artist, playing at important Festivals and venues not just in Portugal but in Europe and U.S.
Coming from a rock/punk and blues background, while studying at local classic and rock schools, he began studying Jazz at Hot Club Portugal School and then was finalist at Escola de Jazz do Barreiro/Lisbon. Then did studies with Saxophonist Joe Giardullo who opened for him the doors of modern jazz harmony complexity through the George Russell's "Lydian Chromatic Concept of Tonal Organization", plunging Lopes into the world of improvised and experimental music, without disregard for his fascination with distorion and guitar feedbacks, expressed in different incursions into noise music, while also canalizes energys towards projects where he can develop his composing abilities.
In more recent times, Lopes has played and / or recorded with different artists connected to jazz and improvised music, such as Noel Akchoté, Christian Lillinger, Robert Landfermann, Marco Von Orelly, Marc Unternahrer, Adam Lane, Igal Foni, Floros Floridis, Joe Giardulo, Harvey Sorgen, Benjamin Duboc, Phill Niblock, Ernesto Rodrigues, Paulo Curado, Sei Miguel, Rodrigo Amado, Hernâni Faustino, Gabriel Ferrandini, Rodrigo Pinheiro, Miguel Mira, Aaron Gonzalez, Stefan Gonzalez, Dennis Gonzalez, Elliot Levin, Alfred Hart, Daniel Levin, Reuben Radding, Daniel Carter, Jeb Bishop, Josh Abrams, Jean-Luc Guionnet, Samuel Blaser, Boris Hauf, Evan Parker, Olivier Benoit, Fred Lomberg-holm, Valentin Ceccaldi, Gonçalo Almeida, among many others."-Luis Lopes Website (http://www.luislopes.pt/?page_id=972)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Luis Lopes
1. Love Song- Post Ruins 37:30
sample the album:
"Here is the second opus of Luis Lopes' project Love Song, the opposite of his (also) solo investigations of extreme guitar noise. The title, "Post-Ruins", follows the idea that it's always possible to love again and again. Because of that, "love, or that mysterious force we call love, can't be measured in seconds, days or years".
The Lisbon musician wanted to create "a sort of harmonic infinity", with the performance of the music functioning like a sound installation, "occupying the space like a sculpture, without temporality or any feeling of sequency".
The piece is entirely written, with the exception of an improvised part in-between, but even that one rotating around a fixed tonality. All the notes, intervals and chords were chosen with the purpose to transmit a perception of stagnation, of marasmus - "or of a wandering through marasmus", says Lopes - transmitting the sensation of a stop in time. An eternalized moment, full of emotions, necessarily limited by the musical performance, but infinite "in itself".
Everything sounds as a suspended cadence, very slow and melancholic. This beautiful, enigmatic edition has complementary contributions by the photographer Andre Cepeda, his images also giving a sensation of unreality and sadness."-Shhpuma
The Squid's Ear!
Solo Artist Recordings
European Improvisation and Experimental Forms
New in Improvised Music
Recent Releases and Best Sellers
Friends of Squid
Search for other titles on the Shhpuma label.