mazagran records

EITR on ‘le son du grisli’

March 13th, 2014 § Comments Off on EITR on ‘le son du grisli’ § permalink

[…] c’est alors qu’EITR évolue dans cette ambient trouble, dérangée sans cesse, qui met dans ses grisailles les deux musiciens en valeur.

EITR live

January 9th, 2014 § Comments Off on EITR live § permalink

jan, 9th – ZDB, Lisbon
jan, 10th – Canhoto, Porto
jan, 11th – Central Pub, Bragança

EITR live in Lisbon…

January 7th, 2014 § Comments Off on EITR live in Lisbon… § permalink

EITR will present their brand new release at ZDB in Lisbon, thursday January 9th, at 22h.

Photo (c) Vera Marmelo

EITR – Eventually The Wind Died (mz006)

October 8th, 2013 § Comments Off on EITR – Eventually The Wind Died (mz006) § permalink

Eitr is duo of Pedro Sousa and Pedro Lopes, two portuguese young musicians, and some of the most exciting artists in the plastic, tonal and energetic exploration of sound in a long time. Using sax (sousa), turntables (lopes) and a communal use of electronics, their music is admittedly nervous, obsessively bent over the following moment. Unlike other past forms of improvisation more concerned with listening a certain purity of sound, this search is as focused as much as frantic in the pursuit of a new dialogue of sonic matter. Lopes’ is an impressive turntablist, and the amount of simultaneous events he manages to orchestrate is a rare feat in that instrument, while Sousa is an extremely caustic lower – he finds melody through pure sound, and from that essence gives rise a deeply personal lexicon, of a new improv, extremely vibrant and affirmative. (from: OUTFEST program 2011, https://www.dropbox.com/sh/l7dly0s8h9h3o2b/_jT-e0BLY0#lh:undefined-EitrTremAzul.png)

Pedro Sousa, saxophones and electronics. He is one of the most active young improvisors of the portuguese muscial scene he recently collaborated with several artists of avant-garde, free-jazz and experimental panorama (Rafael Toral, David Maranha, Thurston Moore, Gabriel Ferrandini, among other) and he won, this year, the “Ernesto Sousa” grant for portuguese artists headed by Phill Niblock.

Pedro Lopes, turntables and electronics, is a Portuguese musician based in Berlin, with an extensive series of collaborations with names like Carlos Zingaro, Reinhold Friedl, Dj Sniff, Gabriel Ferrandini, among other; he is engaged with “radio art” that led producing pieces for the Transmediale Berlin, Serralves Foundation and Goethe Institut. Making its instrument, the turntable, vehicle for an exploration of analog tone, using amplifiers, homemade pressed vinyls, modified needles and percussive objects, Pedro Lopes is one of the most interesting and innovative young musician in exploratory music.

EITR on vital…

October 8th, 2013 § Comments Off on EITR on vital… § permalink

mz006 – EITR on vital:

” […] I thought this was a great release. Very intense for the players – probably – and for the listeners – surely for me. Every time I play this I hear something new, which made me think ‘oh, no, its much more electro-acoustic than I thought’, ‘damn, it’s much more composed’ or ‘what a refined way of improvising’. Excellent record all around. (FdW)

mz006 – EITR

September 12th, 2013 § Comments Off on mz006 – EITR § permalink

mazagran is proud to announce its new release:

***

EITR – trees have cancer too

(150 gr LP, 350 gr carton cover, 150-copies limited edition)* – 16.00€

Pedro Sousa – Saxophones, Electronics

Pedro Lopes – Turntables, Electronics

[Cover elaborated from Photo by Mark J Sebastian (CC BY-SA 2.0)
flickr.com/photos/markjsebastian/6838036701/in/photostream]

EITR. Líquido, de viscosidade elevada, entre o âmbar (Pedro Sousa) e gasoso (Pedro Lopes). Música sempre dual, eternamente renovada, no tempo presente (gravada ao vivo), na primeira pessoa do singular.

Duo of Pedro Sousa and Pedro Lopes, two portuguese young musicians, and some of the most exciting in the plastic, tonal and energic exploration of sound in a long time. Using sax (Sousa), turntables (Lopes) and a communal use of electronics, their music is admittedly nervous, obsessively bent over the following moment. Unlike other past forms of improvisation more concerned with listening and a certain purity of sound, this search is as focused as much as frantic in the pursuit of a new dialogue of sonic matter. Lopes’ is an impressive turntablist, and the amount of simultaneous events he manages to orchestrate is a rare feat in that instrument, while Sousa is an extremely caustic blower – he finds melody through pure sound, and from that essence gives rise a deeply personal lexicon, of a new improv, extremely vibrant and affirmative.