{"id":10654,"date":"2020-11-29T15:41:09","date_gmt":"2020-11-29T14:41:09","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=10654"},"modified":"2020-11-29T15:41:10","modified_gmt":"2020-11-29T14:41:10","slug":"sirias-boa-lingua-reviewed-by-neural","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=10654","title":{"rendered":"S\u00c3\u00adria\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Boa-L\u00c3\u00adngua\u00e2\u20ac\u009d reviewed by Neural"},"content":{"rendered":"\n
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Boa-L\u00c3\u00adngua in Portuguese literally means \u00e2\u20ac\u0153good tongue\u00e2\u20ac\u009d. This expression is often used in contrast to \u00e2\u20ac\u0153bad tongue\u00e2\u20ac\u009d that is \u00e2\u20ac\u0153small talk\u00e2\u20ac\u009d. For his second album Siria used structures of his former work, Cuspo. She used them as organising principle for the structure (9 songs in one sequence, the final one being a repetition) and length of the tracks, after collecting several different recordings of rehearsals. The whole result is a refined form of musicality, with the vocals in the foreground and a mix of various experiments. These might make us think of a world-music or ethnic approach, but they also display a passion for improvisation and electroacoustics. The repertoire of the album is made by different versions of traditional songs. They include a version of an Azeri song and two original versions, one in Turkish and the other in Portuguese, and two other unreleased songs where the vocal does not take the form of words. Within the catalogue of Cr\u00c3\u00b3nica Electr\u00c3\u00b3nica, this production might seem atypical, but this independent media-label usually performs an elegant eclecticism. While listening, the different pieces of the puzzle come together. Later, the tracks were mastered by the specialist Miguel Carvalhais, who, along with Pedro Tudela, produced a remix of the second track, \u00e2\u20ac\u0153Nos Montes\u00e2\u20ac\u009d. That is not the only example of artistic convergence. \u00e2\u20ac\u0153Can\u00c3\u00a7\u00c3\u00a3o do Gato\u00e2\u20ac\u009d is a version of a song recorded by Tiago Pereira from A M\u00c3\u00basica Portuguesa a Gostar Dela Pr\u00c3\u00b3pria. \u00e2\u20ac\u0153Senhora dos Rem\u00c3\u00a9dios\u00e2\u20ac\u009d is a version of a song performed by Catarina Chitas and has a sample from Maile Colbert. \u00e2\u20ac\u0153Belgian Shepherd\u00e2\u20ac\u009d is a remix of a song by Rui P. Andrade from his album All Lovers Go To Heaven. \u00e2\u20ac\u0153Ay I\u00c5\u0178\u00c4\u00b1\u00c4\u0178\u00c4\u00b1nda\u00e2\u20ac\u009d is a version of a song performed by N\u00c9\u2122rmin\u00c9\u2122 M\u00c9\u2122mm\u00c9\u2122dova. \u00e2\u20ac\u0153For Gh\u00c3\u00a9dalia\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Boa-L\u00c3\u00adngua\u00e2\u20ac\u009d both have recordings from Los Ni\u00c3\u00b1os Muertos, Andr\u00c3\u00a9 Tasso and Bruno Humberto. Overall, this is a complex but lovable production, which a broader audience than the usual followers of electronicmusic and audio art can deeply appreciate.\u00c2\u00a0Aurelio Cianciotta<\/em><\/p>\n\n\n\n