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▐█▀████▓▓█▀█▀▀ ▀▀▀▀▓▓▓███▄██▌
▐████▓▓▀ █ ▀▓█████▌
▐███▓▓▌ █ BETTER YOU TAKE THAT IS PROUD TO BRING YOU ▐▓████▌
▐████▓▓░ ▄ ▓█████▌
▐█████▓▓▄ Danτas Ocultas-Pulsar ▄▓▓█▀███▌
▐██▀ ▀█▓▓▌ ▐▓▓██████▌
▐███▄██▓▓▓ ARTiST.... Danτas Ocultas ▓▓███████▌
▐█████▓▓▓▌ TiTLE..... Pulsar ▐▓▓▓███▄█▌
▐███▓▓▀▀ LABEL..... Music Magic SOURCE... CDDA ▀▀▓▓▓██▌
▐█▓▀ GENRE..... Instrumental QUALiTY.. VBRkbps ▀▓█▌
▐█▌ ▄■ RiP.DATE.. Dec-05-2004 TRACKS... 14 ■▄ ▐▓▌
▐█░▄▄▓▌ STOREDATE. 000-00-2004 LENGTH... 55:53 min ▐▓▄▄ █▌
▐███▓▓ SUPPLiER. TEAM BUTT ▓▓███▌
▐██▓▓▌ ▐▓▓██▌
▐█▓▓▀ ▀▓▓▓▌
▐▓▌ NR. TRACKNAME TiME ▐█▌
▐█ █▌
▐█ 01 Alchimie 04:50 █▌
▐█ 02 Primeira Hora 03:26 █▌
▐█ 03 Tristes Europeus 03:54 █▌
▐█ 04 Fantasia 02:58 █▌
▐█ 05 Sorriso 03:21 █▌
▐█ 06 Porto Seguro 03:53 █▌
▐█ 07 DistΓncia 02:48 █▌
▐█ 08 Casa So Rio 03:51 █▌
▐█ 09 Alento 05:51 █▌
▐█ 10 Sirocco 04:43 █▌
▐█ 11 Pandora 04:55 █▌
▐█ 12 La Danse IdΘale 04:27 █▌
▐█ 13 Esse Olhar (Ao Fole) 04:24 █▌
▐█ 14 Danτas Ocultas 02:32 █▌
▐█ █▌▄
▐█ TOTAL TiME: 55:53 min █▌▄
▐█ TOTAL SiZE: 71,4 Mb ▄██
▐█ ▐█▀
▐█ █▌▄
▐█ <──────────────────────────────────────────────────────────────> ▐█▀▓▀
▐█ █▌
▐█ RELEASE NOTES: ▐█▌
▐█ █▌
▐█ "Not a band with four concertinas, but with four diatonic █▌
▐█ accordions. The diatonic accordion (known in Portugal as █▌
▐█ concertina) was nearly disappearing some years ago. Artur █▌
▐█ Fernandes, leader of the band: "At the time I started playing █▌
▐█ diatonic accordion it was just disappearing - not only in our █▌
▐█ region (Centre West), but also in the rest of the country. █▌
▐█ Nowadays, we are having a rebirth of this instrument and we can █▌
▐█ say that it is its strongest moment ever - both quantity and █▌
▐█ quality of players." █▌
▐█ (http://www.melomusic.nl/pub/artists/ocultas/press_e.htm) █▌
▐█ █▌
▐█ -------------------------------------------------------------- █▌
▐█ █▌
▐█ PULSAR █▌
▐█ █▌
▐█ Pulsar is the name given to those distant neutron stars whose █▌
▐█ existance we get to witness due to the radiation (not just light █▌
▐█ but also sound) they ommit in regular cycles. █▌
▐█ █▌
▐█ Pulsar is also the title for the third originals' album by the █▌
▐█ Danτas Ocultas quartet - even if, in this case, for aparently █▌
▐█ different reasons. Indeed, in Portuguese, the same word also █▌
▐█ refers to heartbeat, or a certain inner rhythm. Finally, just █▌
▐█ out of curiosity, it is a word that incorporates (but goes █▌
▐█ beyond) the group's previous work title, 1998's record named █▌
▐█ "Ar". It indicates a moment of greater maturity and stability, █▌
▐█ which reflects on a superior composition work, an improvement in █▌
▐█ execution, and the dialogue with a variety of musical languages █▌
▐█ and traditions. In conclusion, a moment of opening up to the █▌
▐█ world.s █▌
▐█ █▌
▐█ Artur Fernandes, Filipe Cal, Filipe Ricardo and Francisco Miguel █▌
▐█ got together because of a shared interest in the recovery of an █▌
▐█ instrument that is outdated - the diatonic accordion, known in █▌
▐█ Portugal as "concertina" - and because they all accepted the █▌
▐█ challenge of exploring, imagining and conceiving new musical █▌
▐█ languages. With this in mind, the can transform the world █▌
▐█ through sound and develop all the possibilities provided by that █▌
▐█ one machine invented in the XIXth century. █▌
▐█ █▌
▐█ Dancas Ocultas started off by adapting different classical █▌
▐█ partitions to the instrument - Verdi's Aida, some of Bach's █▌
▐█ work, Strauss's Also Spracht Zarathustra - and performed live █▌
▐█ for the first time in May 1989, at the cine-theatre in the city █▌
▐█ of Aveiro. After that, they to started to look into creating █▌
▐█ their own repertoire. And, in 1992, they travelled to Evora to █▌
▐█ watch a concert by Riccardo Tesi, who would come to deeply █▌
▐█ influence them as he confirmed their initial intuition that it █▌
▐█ was possible to discover something new from such an outdated █▌
▐█ instrument. █▌
▐█ █▌
▐█ They then looked for a new name that would force people to █▌
▐█ consider its meaning - hence the name Danτas Ocultas, since it █▌
▐█ is a way of showing that they created music for dances still to █▌
▐█ be invented. █▌
▐█ █▌
▐█ Only in 1993 did Artur Fernandes show some of their Danτas █▌
▐█ Ocultas's recordings to Rodrigo Leπo, whose enthusiasm lead him █▌
▐█ to introduce the group to Gabriel Gomes, then accordionist with █▌
▐█ Madredeus. Gabriel pushed them to compose more original material █▌
▐█ and to develop a unique language. On a now memorable night in █▌
▐█ May 1994, the band performed in Braga with Madredeus, spending █▌
▐█ the early hours of the morning playing their repertoire in the █▌
▐█ hotel's toilets, while Gabriel Gomes recorded the session on █▌
▐█ DAT. Since sound engineer Ant≤nio Pinheiro da Silva showed █▌
▐█ reservations about certains aspects of tuning, the following █▌
▐█ month the group went ahead with some technical changes, altering █▌
▐█ the instruments' timbre in order to improve the harmonies. After █▌
▐█ that, they went down to Lisbon, where they spent some weeks █▌
▐█ rehearsing with Gabriel Gomes, before locking themselves away in █▌
▐█ the Angel 1 studio with Ant≤nio Pinheiro da Silva for the █▌
▐█ recording of what would come to be their first album. With 1995 █▌
▐█ came the group's first interviews, while they strove to █▌
▐█ negociate a record contract. The album, with no other title █▌
▐█ aside from the band's own name, was finally released in February █▌
▐█ 1996 by EMI-Valentim de Carvalho, though it was dated from the █▌
▐█ previous year. █▌
▐█ █▌
▐█ Unanimously recognized as one of the best albums of the year, █▌
▐█ this work - predominantly made of compositions by Artur █▌
▐█ Fernandes - lead to a series of concerts and public apearances █▌
▐█ that quickly extended abroad: in 1997 the band was invited to █▌
▐█ take part in various international festivals throughout Spain, █▌
▐█ Marroco, France and Belgium. █▌
▐█ █▌
▐█ Confronted with other stages and other audiences, the group felt █▌
▐█ the need to imprint a new dynamic into their sound. They needed █▌
▐█ a wider set one notes in flat sounds. This is when they decided █▌
▐█ to introduce a second technical change, by creating an unlikely █▌
▐█ and previously nonexistent instrument: the concertina-baixo - █▌
▐█ which, since it is not destined for a soloist, only makes sense █▌
▐█ within an ensemble. From then on, it was played by Filipe █▌
▐█ Ricardo. With that same sound, between December 1997 and January █▌
▐█ 1998, Danτas Ocultas record a second set on original █▌
▐█ compositions. This time, the collective begins to a have a █▌
▐█ greater influence in the composition process and it becomes █▌
▐█ clear that they desire to unite their own music with other █▌
▐█ traditions, other arts and even with other asthetic horizons. █▌
▐█ Released before the summer of the same year, and once again █▌
▐█ produced by Gabriel Gomes, the album "Ar" starts off with the █▌
▐█ song "Escalada", a tribute to the Argentinian mentor Astor █▌
▐█ Piazzolla. It also includes a scenic track ("Hinos α Noite") █▌
▐█ created for a theater play by Filipe Pereira, as well as two █▌
▐█ songs included in the soundtrack for Carlos da Silva and George █▌
▐█ Sluizer's film "Mortinho por Chegar a Casa". █▌
▐█ █▌
▐█ With more concerts, tours and other festival experiences, this █▌
▐█ innovative asthetics also brought new challenges. In 2001, the █▌
▐█ choreographer Paulo Ribeiro invited them to not only compose new █▌
▐█ tracks for his company's next show but also to integrate the █▌
▐█ actual choreagraphy. The need to move on stage and to abandon █▌
▐█ the traditional sitting and estatic positions, caused a series █▌
▐█ of changes, both technological (in the way the sound is █▌
▐█ captured, for example) and in the actual execution technique, █▌
▐█ and therefore in the composition. Meanwhile, the five original █▌
▐█ songs they created for the play "Tristes Europeus" were included █▌
▐█ in the new repertoire, also benefiting from all the contacts █▌
▐█ accumulated during the long tour with Paulo Ribeiro's company █▌
▐█ (who will again invite them in 2004 to take part in the "White" █▌
▐█ choreography, this time with Ballet Gulbenkian). Later, in 2002, █▌
▐█ the record company L'Empreinte Digitale released in France a █▌
▐█ compilation of tracks from their first two albums, entitled █▌
▐█ "Travessa da Espera". █▌
▐█ █▌
▐█ Without a record contract, the group decides to produce the █▌
▐█ third originals' album with their own money - a process that was █▌
▐█ documented in the book "Alento", by Jorge P. Pires (text) and █▌
▐█ Duarte Belo (photography), published in November 2003 by Assφrio █▌
▐█ e Alvim. This is a book where Danτas Ocultas' adventure is used █▌
▐█ as the basis for an imaginary trip involving the air, its █▌
▐█ qualities and its importance for civilizations and world musics, █▌
▐█ with particular emphasis on Europe, the homeland of the █▌
▐█ concertina. █▌
▐█ █▌
▐█ Finally recorded in Lisbon, at the studios O Circo Voador, █▌
▐█ between the end of 2003 and the beginning of 2004, "Pulsar" █▌
▐█ materializes something Artur Fernandes once summed up in one █▌
▐█ sentence: "We are a synthesis of experiences". Still produced by █▌
▐█ Gabriel Gomes, and mixed by Ant≤nio Pinheiro da Silva, "Pulsar" █▌
▐█ included the collaborations of a wide gallery of guests, among █▌
▐█ others, Syrian musician and singer Abed AzriΘ, Brazilian █▌
▐█ mandolinist Edu Miranda, Gaiteiros de Lisboa, percussionists █▌
▐█ JosΘ Salgueiro and Rui J·nior, double bass player Ant≤nio █▌
▐█ Augusto Aguiar, singer Maria Joπo and pianist Mßrio Laginha. █▌
▐█ █▌
▐█ Refering to the motives and experiences captured at different █▌
▐█ places around the globe, and using them to build a solid musical █▌
▐█ discourse, the fourteen tracks therefore register the current █▌
▐█ state of a decade old musical adventure, forever defined by the █▌
▐█ progressive distancing from the concertina's dialogue with the █▌
▐█ world - and the musics - of our time. These songs also prove █▌
▐█ that the concertina continues to be a dream making machine, █▌
▐█ inventing possible futures and building senses. █▌
▐█ (http://www.magicmusic.info/dancasocultas/) █▌
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