The festival “Milhões de Festa” is back at Barcelos for the 11th edition, which promises to follow the founding spirit of the festival: the release of new names of contemporary national and international music without looking at styles or musical genres. The sounds range from punk rock to jazz, to electronic and African, Latin or Arabic rhythms.
Wide Future gives you 6 names of the clubbing universe to take into account, which will be present in this city, between September 6th and 9th:
Squarepusher: Tom Jenkinson’s pseudonym, from the United Kingdom, has a very unique style, which goes through genres as diverse as drum ‘n’ bass, jazz, acid house, IDM and ambient, without being able to insert it in none of them, because of his creative and experimental spirit. The past as a guitarist (both acoustic and electric) and keyboardist is easily noticed in the creations, which combine a fluid percussion as background, a brilliant domain of the synthesizer, capable of melodies, sometimes harmonious, sometimes beautiful because of their strangeness. According to him, his tracks aim to portray, through electronic music, the hallucinatory side of the human being and the tenuous lines between dream and nightmare. He is one of the headliners of this year’s edition, and being a rookie on national soil puts the expectations high.
Cumbadélica: a duo composed by Igor Ribeiro and Marie Lopes, that fits in the electronic music environment of psychedelic slope, and brings the particularity of integrating elements of the ethnic music, essentially of African origin. An action is expected in which the environment of ritual and the confluence of cultures is a constant.
DJ K-Sets: Manuel Sánchez’s artistic name, it is a project that is both extraordinary and bizarre. In 2001, Manuel began, as a hobby, to pass through a cassette player tracks that went from techno to gipsy rumba. These tapes were acquired second-hand at service stations, or offered by friends as travel gifts. Trips to Armenia, Turkey, Iran, Lebanon or Syria have become essential for the musical recording of the Spanish artist. His music is characterized by the mixing of vocals and sounds originating essentially from the Middle East and the surrounding areas (where Arab and Gypsy music predominates), although there are also slight Hispanic influences. All this becomes even more bizarre if we know that Manuel does not use the usual mixer in his k-sets: instead, he uses mobile phones and autoradios (with a built-in cassette player, of course). Curiosities that you can confirm next September 7th.
The Bug feat. Miss Red: Briton Kevin Martin aka The Bug prepares to give the audience a mix of dub and dubstep mixed with alternative hip-hop. For this, she is accompanied by the Israeli rapper Miss Red, one of her habitual collaborators, that will give voice to beats marked by the hypnotic and heavy basslines. The duo will try to make the listeners enjoy a fusion of the boundaries between the beautiful and the ugly, the minimal and the maximal, through sequences that are sometimes arrhythmic and disconcerting.
DJ Paypal: Known for geek humor and as founder of the label Mall Music, he is one of the icons of footwork, subgenre of electronic music founded in Chicago in the 90’s, which revitalized to the present day. In a few years, Paypal went from trolling the internet and producing for fun through free online production software, the respected figure within the footwork, due to its imaginative ability, has been able to completely reinvent the genre. A set is expected at a frenetic pace, where you can integrate soul, jazz, hip-hop, disco and funk samples or even sounds of arcade games into your footwork.
Mouse on Mars: imprecision, noise, intuition, speculation, spontaneity, improvisation, imagination, connectivity and overload. All adjectives that help describe the long career of this natural German duo of Düsseldorf. However, daring to bring the project closer to one or more subgenres is to run a serious risk of being surprised by Jan St. Werner and Andi Toma. Lovers of the synthesizer, as well as of guitar, bass, drums and saxophone, not leaving aside typical instruments of erudite music, guide their works by the apologia of experimentalism and by the crossing of rhythms and sonorities that break academic musical convections. Through disruptive music, filled with fragmented melodies, spatial dissonances, sudden interruptions, strange streams of sound particles and chaotic overlaps, aim to permeate the anarchy, the absurdity and the aversion to conformism that pop music imposes. For this reason, their tracks come as an attempt to bring the concept of art closer to popular culture. The proof of his eclecticism lies in his collaborations with the Philharmonic Orchestra of Cologne and Chicago, as well as in the electronic adaptation of the work of the famous German composer Karlheinz Stockhausen, in which they demonstrate that, if there is creativity, all sound is welcome to electronic music.