We are well used to days that seem like a pack of two, but this one was surely the project's most crowded day! It seems as though everyone waited until the last minute to participate, and as soon as they realised the opening would be in the next day, here they came join the party.
We started with João Caldeira and with (João) Diogo Castro, who both appeared dressed in blue, in shorts, with a melodica on their right hand. In the end, both chose different sketches, but which had been used in the same piece; 'THE WOLF GAME - DEATH BY HYPERSTRESS'! João reconstructed a music piece he likes, whilst heeding a scheme for the dramaturgical preparation of material. On the other side, Diogo interpreted various harmonic fields related to the game's moments, including situations like love potions being thrown around by witches and attending voting polls in a direct democracy style to see who should get lynched.
Following, arrived Diogo (Andrade), hilariously also with another melodica, given we hadn't had any by that time… He stayed with us for a long while, assessing what he would do with so many drawings, between advancing with his own structures and deeply understanding Rodrigo's. We tried to frame some of the things he came up with within some parts of what the screen's contents were suggesting, but in the end, we noticed a tiny (but powerful) fragment referring to pressure modulations in vocal production. Since a melodica is more or less like a voice instrument, the indications seamlessly fitted our purpose and everyone turned happy!
Joana Bolito, who came with Diogo Andrade, had plenty of time to consider the terms of her participation and, as it was her time to record, she promptly chose a text; again about that same Iranian-Iraqi girl called Roxanna. In a fado-like style, she sang a beautiful melody about having been born in Kingston; the one in London, not the one in Jamaica.
Daniel Melim brought us in his voice some more primal sounds, with some elements that reminded us of a didjeridu. The graph he chose was a fluid yet rhythmically driven wave, and so was his participation. Roberto Moniz came to PIPINOIR again, for his recording had become mysteriously corrupted some days earlier. This time, he got even looser on his fervent spoken word improv and started even speaking of his grandmother and offered us a song the borracheiros [professional wine carriers] used to sing.
At the point when we thought we had listened to things enough, there came Zé Camacho armed with his box of surprises. After some singing on the Rajão, he fetched this graph displaying various textures, where he introduced the sounds we indeed had not heard in 'Taxonomy' before. With ducks, cows, chickens and much more, enjoyment and energy were plenty, as were the occasional amazing stories. We did not mention though that Zé had brought with him an even more wondrous company, Mário André! He arrived and said he was there just to quietly support everyone and just attend without participating but of course, the story became another one thereafter…
In the meanwhile, Manuel Rodriguez, who since the beginning had promised us a participation, wasting no time at all, climbed on top of a ladder with his modified viola de arame around his waist. He glanced at several drawings and jumped towards some lines, sonifying them with interjections and sounds of pondering like "hum…" and "ahhh…".
With this, a great debate starts on themes as varied as the project's participants within the fields of music and art. At some point, Manuel had girded his viola and started firing us with his exceptional improvisations with Mario André and Rui Camacho drumming along. This, of course, attracted other roaming characters: a little eight-year-old boy who played Brasilian tambourine, Mariana B. Camacho, who joined us singing and this Russian international affairs lawyer who decided to just linger around and listen.
We, very entertained with the whole situation, eventually had to withdraw ourselves from the party in order to start implanting the rest of the hooks, an act which we performatively introduced with 'a noise-drill solo'. With this, there we were, again, until the earliest hours in the morning, alone, at last, checking where each participant's sound, as every loudspeaker, would ultimately be placed!
Photographs by Sara Rodrigues
Photographs by Rui A. Camacho