"Poemas 1934-1961", de Pedro Homem de Mello

“Poemas 1934-1961”, de Pedro Homem de Mello

by lookmagpt Novembro 7, 2023 747 Views

Com edição de Luis Manuel Gaspar, é nesta ocasião publicado o livro Poemas 1934-1961, o primeiro de dois volumes reunindo toda a poesia de Pedro Homem de Mello. Aqui se recolhem as obras editadas entre 1934 e 1961, ficando reservados para o segundo tomo os livros publicados entre 1964 e 1979. Um dos mais importantes poetas da «Geração da Presença», o autor notabilizou-se também, mas não só, por ter escrito algumas das mais famosas composições cantadas no fado, das quais se cristalizou, na voz de Amália Rodrigues, «Povo Que Lavas no Rio», incluída nesta edição. Aos mais de 600 poemas agora disponíveis numa edição de referência, incluem-se ainda importantes materiais de apoio: uma cronologia sumária, um estudo bibliográfico e os muitos textos críticos que acompanhavam as obras originais, na sua íntegra.

Pedro Homem de Mello nasceu no Porto em 1904. Licenciado em Direito pela Universidade de Lisboa, teve uma breve carreira como advogado, tendo-se dedicado posteriormente ao ensino do português em escolas técnicas da cidade onde nasceu. Pertenceu à geração dos escritores presencistas, e foi na poesia que mais destaque alcançou. Há que realçar, ainda, o importante contributo que deu ao estudo do folclore português. Pela sua vasta obra foi distinguido com o Prémio Antero de Quental (1940) e o Prémio Nacional de Poesia (1973). Morreu a 5 de março de 1984.

“Poemas 1934-1961”
Pedro Homem de Mello
Assírio & Alvim

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Porto Prog Night: a viagem sensorial ao mundo do Rock Progressivo acontece já este sábado

O auditório CCOP acolhe uma noite única em que a música vai além do simples som, criando uma experiência sensorial completa. Porto Prog Night junta quatro dos projetos mais importantes da cena nacional do rock progressivo – Living Tales, Needle, Rei Bruxo e Phase Transition – para um espetáculo que promete ser um verdadeiro rito de passagem, tanto artístico como emocional. A abrir a noite, os Living Tales, veteranos do panorama musical, irão apresentar o seu mais recente álbum, Hades, uma obra que reflete a sua maturidade sonora e a resistência ao longo dos anos. A sua atuação será um marco de reinvenção, carregada de simbolismo e profundidade. A seguir, os Needle, naturais de Guimarães, irão transportar o público para uma viagem sonora envolvente, onde o post-rock e o rock progressivo moderno se entrelaçam, criando atmosferas densas e introspectivas, repletas de delicadeza e tensão. Os Rei Bruxo trazem ao palco uma proposta ousada e inovadora, que mistura rock progressivo, jazz, eletrónica e uma poesia provocadora. Com uma visão crítica sobre o mundo contemporâneo, a banda eleva a palavra portuguesa a novos horizontes expressivos, oferecendo uma fusão única e contemporânea. A noite culmina com os Phase Transition, cuja performance técnica e emocional promete deixar uma marca indelével. Combinando o violino com as complexas estruturas do metal progressivo, a banda entrega uma energia jovem e virtuosa, com influências clássicas que se misturam de forma arrebatadora. Porto Prog Night não é apenas um concerto, é um convite a uma imersão total num universo onde o som se torna imagem, o tempo se suspende e a música transforma-se em pensamento. Uma noite de intensidade, emoção e descoberta. Os bilhetes para o evento têm o custo de 15€ e podem ser adquiridos aqui ou nas lojas Bunker Store e Piranha.
“I’m not going to make just another black or death metal band, there are already plenty of those”, BOUM PATAT about “Ma Belgitude”

Em Português aqui BOUM PATAT is the eccentric, electrifying creation of Olivier Wittenberg, a veteran of the Belgian metal scene, known for his work as drummer and composer with the band Manic Movement. Having toured across Europe in the 2000s alongside metal giants like Kreator, Moonspell, and Psychotic Waltz, and gracing iconic stages such as Graspop Metal Meeting, Wittenberg now returns with BOUM PATAT — and with a good sense of humor. By Sandra Pinto “Ma Belgitude” is a bold and unique album that defies genre conventions, blending groove metal, industrial, and electronic elements with a touch of irreverence. Through his Electro-Fun-Metal, he merges Belgian culture with metal influences, creating a sound that reflects both his personality and life experience. In the following interview, Wittenberg talks about the creative process behind “Ma Belgitude,” the importance of humor in his music, and how the project evolved from a solo effort into a live band, with the addition of Laurent Soulasse and Maxime Demulder. “Ma Belgitude” is a wild and genre-defying album. Can you take us through your creative process when you were writing and producing this record? How did you manage to blend groove metal, industrial, and electronic elements so seamlessly? I drew inspiration from my country, from my ‘Belgitude,’ and I brought in my metal influences, the metal I’ve been listening to and that I still listen to today, and I put all of that into a universe that belongs to me and that defines my Belgitude. The term “Electro-Fun-Metal” is used to describe BOUM PATAT’s sound. What does that mean to you, and how does it shape the attitude of your music? Let’s say ‘Electro’ comes from the fact that I also use electronic sounds, inspired by the new beat music created in Belgium in the late ’80s and ’90s. That dark side of that music really inspired me. I combined that with my metal influences, because metal is still the music I listen to the most. I wanted to do something a bit different from the usual and inject some humor, and that’s how BOUM PATAT Electro-Fun-Metal came to be. The album is filled with humor and absurdity, which sets it apart from more serious, conventional metal. How important is humor in your music, and how do you balance it with the heavy, aggressive elements? I wanted something honest that reflects me and my world, my friends, and our way of seeing things. The guitarist, for example, is also the guitarist from my old band Manic Movement, and we’ve always had a pretty dark, kind of Belgian-style humor. Sometimes it’s tied to certain regions like Wallonia, where there are actors whose humor we love, and it’s really our kind of humor. I told myself I’m not going to make just another black or death metal band, there are already plenty of those. I have some experience now, and I thought, why not do a bit like Rammstein did with ‘Dicke Titten’ or ‘Keine Lust,’ not take ourselves too seriously, and add our own sense of humor into the music. It’s a formula that’s pretty honest. You wrote, performed, and produced the entire album solo. Was this a deliberate choice to keep the vision raw and unfiltered, or was it more about convenience and creativity? Over the years I met people, producers like Attibo, who worked for Manic Movement and also produced bands like Scorpions, The Gathering, Channel Zero, and many others. Little by little, that got me interested in production. So between the end of Manic Movement and the start of this new album, BOUM PATAT, I started producing a lot and investing in studio gear. It gives me freedom in terms of time and creativity to work and achieve a result like BOUM PATAT. Tracks like “Boum Patat” and “Putain De Moustique” really show the fusion of Belgian culture with metal. How does your background and experience in Belgium influence the themes or sounds of this album? It was a choice to take my Belgian experiences and inject them into my music. I think every country has its clichés—France has the Eiffel Tower, Belgium has the Manneken Pis, Italy has the Leaning Tower of Pisa, and so on. I took everything that has touched me in my life—well, my life isn’t over, of course, but you know what I mean—everything that has left an impression on me, the pride, the darker sides, the voyeurism on certain TV shows, the Rue d’Aerschot in Brussels known for its red-light district—all of that inspired me. I didn’t want to make another metal band singing about the devil or the usual black or death metal clichés. Sure, I did a track called ‘666,’ but in a more humorous way. That’s what I wanted to say. BOUM PATAT started as your solo project, but you now perform live with Laurent Soulasse and Maxime Demulder. How has the live dynamic changed the way you approach the music, and how does the trio amplify the energy of the songs? The first person who joined me was Jérémy Vasil, my former guitarist. I asked him to come and add his guitars to my album. Everything was already composed and finished, but he came in and added his parts. Then, at first, the idea was just to make an album at home, period. But people around me, including the guitarist and others, said it would be a shame not to represent this live. So we started looking for a bassist and a drummer, and then Laurent Soulasse joined in, and Maxime Demulder on drums. And that’s how the live adventure began. As a veteran of the Belgian metal scene, you’ve toured with some iconic bands like Kreator and Moonspell. How did those experiences shape your own musical journey, and how do they influence the sound and presence of BOUM PATAT? Yes, I toured with them in the past with Manic Movement and many other bands too. Did they influence me? I don’t really want to …
“Desolation Throne is about the internal struggle with power and the consequences of losing control”, Trey Xavier from IN VIRTUE

Em Português aqui With a powerful title like “Desolation Throne,” IN VIRTUE’s new single delves into the protagonist’s internal struggle with power, facing the consequences of past choices and the destructive desire to regain control. Trey Xavier, the band’s vocalist and main songwriter, reveals the creative process behind this track, which blends metalcore influences with epic orchestration, drawing from the sound of bands like Symphony X and Protest the Hero. By Sandra Pinto In this interview, Trey shares the vision behind Age of Legends, an album inspired by the myth of Sisyphus, exploring universal themes of power, redemption, and self-overcoming. He also discusses the band’s collaboration and how their evolving sound resulted in a more cohesive and personal work. “Desolation Throne” is such a powerful title. What inspired this particular track, both lyrically and musically? At its core, the song is about the human relationship to power. The protagonist wants it, but he knows that he does NOT wield it responsibly or for anyone’s benefit but his own – when he was king, he used his throne to do terrible, terrible things, and now he stares down the long dark path before him if he takes it up again. He’s grappling with his lust for power. Musically, it’s sort of a combination of Symphony X, Protest the Hero, and a little of the metalcore of my youth sprinkled in, plus a healthy amount of orchestration and epic choirs. The character in the song is described as a Sisyphus figure. Why did you choose this myth as the foundation for the album’s narrative? The myth of Sisyphus sort of presented itself to me as the perfect metaphor for what I was trying to say, with the added benefit of it being so deeply embedded in the zeitgeist already. A “Sisyphean” task, the idea of an eternal punishment as a bedtime story deterrent to bad behavior, a man supposedly beyond forgiveness – all of these ideas made him a perfect candidate for an unlikely redemption. The idea of pushing a boulder up a hill over and over again, only to have it roll back down each time to have to start over, resonates with the life of a creative on such a deep level it’s almost comical. On the surface, it’s an expression of frustration – but what I’ve personally discovered is that the real joy of life is in the process, even knowing that in the end it’s all ashes and dust. I think a lot of destructive behavior and abuse of power comes from people who don’t acknowledge this within themselves, and can’t get past their own boulder. Trey, you’ve mentioned the bridge of “Desolation Throne” is your favorite moment on the album. What makes it so special to you? It’s the zenith of Sisyphus’ parabola. He’s spent all this time climbing to the top, and then he finally gets there and basically loses his hold on the concept of right and wrong. The rules are all different when you’re on top of the world, and he thought he could do better this time, but the poisonous nature of power gets to him again. Luckily this time he falls before he does any damage to anyone but himself. The combination of the lyrics and the music just hit for me. When it gets to the line “I lost my grip, and now I’m slippin’”, I really feel exactly what I was trying to express, and I’ve been told by many people who have heard it that they feel the same thing, and to me, that’s huge. I’m extremely proud of that moment, and I love that other people can share the same feeling around it. That’s kind of the whole point, isn’t it? How would you describe the emotional journey listeners will experience while listening to Age of Legends from start to finish? It’s a cathartic experience. You’re gonna root for this guy, then hate him, then root for him again, and hopefully, see in yourself the same potential for good and evil, and some new and fundamental reasons to choose good for yourself and others in your locus of control. You should learn to forgive yourself for your mistakes without dismissing the damage it caused and your role in it, and that doing bad things doesn’t make you a bad person if you don’t let it. For me, it’s therapy every time. An absolute roller coaster. In what ways do you think Age of Legends differs from your previous releases — sonically and conceptually? In pretty much every conceivable way. However, as the primary songwriter behind all of it, there are a lot of musical moves that I utilize a lot, even without realizing it. Delusions of Grandeur was pretty much an experiment, a result of trying to cram all of my influences into everything. It didn’t really have a central theme. Embrace the Horror was all about different apocalypse scenarios – zombies, Waterworld-type flooding with sharks, religious cult takeover, the Earth exploding into pieces. It was still a bit musically all over the place but felt like we had a sound. Age of Legends is where I feel like we’ve finally really achieved a strong musical AND lyrical cohesion, and created a unique, signature sound. It doesn’t feel like a mishmash of influences, it’s a complete thought. And this time, the production is really up to snuff. It feels like it will stand the test of time. The new single blends gritty cleans with metalcore elements. How do you strike a balance between melody and heaviness in your songwriting? That actually feels like the easiest part to me. Melody, in my experience, doesn’t make something less heavy, it’s more about the performance and sound design. It’s the reason you see so many metal covers of pop songs – Kpop Demon Hunters has been getting this treatment for the last month, and it’s because if you have a great song, you can arrange it in a lot of …
“Pink Flamingo é sobre aceitar a dor e seguir em frente, mesmo com as marcas deixadas”, Barry White Gone Wrong

Após o lançamento do single “Deep House”, os Barry White Gone Wrong estão de volta com “Pink Flamingo”, a segunda parte de uma história contada em dois capítulos. Se a primeira parte explorava a tristeza e a busca por respostas após uma separação, este novo single surge como um ponto de viragem, focando na aceitação e na superação das marcas emocionais deixadas por esse fim. Por Sandra Pinto Os membros da banda Peter De Cuyper e Miguel Décio revelam o que os motivou a dividir essa jornada emocional em dois momentos, como as suas influências musicais continuam a moldar a identidade da banda, e o que podemos esperar de um álbum que promete ser tanto uma evolução quanto um novo começo. “Pink Flamingo” é apresentado como a continuação de “Deep House”. O que vos motivou a contar esta história em dois capítulos, e o que distingue esta nova parte? Peter De Cuyper: O que distingue este segundo capítulo é o facto de ser uma fase seguinte, depois da separação: a aceitação, perceber que a vida continua. Sim, é duro e vai deixar marcas, já não somos a mesma pessoa, mas vamos aprender a viver com essa bagagem emocional. A primeira parte da história, na “Deep House”, fala da tristeza, a procura de respostas ou razões pelo o que aconteceu. Mas também é um pedido de desculpas pelos erros que fizemos e uma explicação de certos comportamentos que tivemos. A letra aborda temas como o desapego e o amor não correspondido. De que forma estas experiências pessoais influenciam o processo criativo da banda? Peter: A letra da Pink Flamingo fala, de facto, na aceitação de um amor não correspondido e que temos que andar para a frente. As minhas letras são maioritariamente autobiográficas. O mais natural é falar das experiências vividas, até como forma de digerir sentimentos E, claro, as músicas são compostas a pensar nas emoções que as palavras transmitem. Notam-se influências da música popular afro-americana e da sonoridade de Bristol neste trabalho. Como é que essas referências se traduzem na vossa identidade sonora atual? Miguel Décio: A música afro-americana sempre foi uma influência desde o nosso início como banda. Temas como Black Out Alert (Tornado) e Finishing Circles (Done) são exemplos disso. As sonoridades de Bristol dos anos 90 surgiu na construção de músicas como a Pink Flamingo por sugestão do Tiago Albuquerque, co-produtor do álbum. Como é algo que faz parte da discografia da maioria dos elementos da banda, foi uma integração fácil e até bem vinda. Depois de quase 15 anos de estrada, o que mantém os BWGW motivados e criativamente ativos? Sentem que este novo álbum é um novo começo ou uma evolução natural? Miguel: Sentimos que ainda temos muita “música no tanque” como coletivo de músicos que retiram grande prazer em tocar juntos. Depois do álbum Done e dos dois singles lançados em 2022 estes temas surgem como um culminar de um ciclo musical. Acreditamos que, se houver um 4º álbum, o processo criativo será diferente. Mais direto, com todos envolvidos ao mesmo tempo durante o processo criativo e de gravação. Gravaram novamente nos BlackSheep Studios, em Sintra. O que vos leva a regressar a esse espaço e de que forma o ambiente do estúdio influencia o vosso som? Miguel: Desta vez gravámos só parte do álbum nos Blacksheep, grande parte das guitarras, teclas e vozes foram gravadas em casa. Mas continua a ser um lugar que nos dá bastante à vontade e conforto em gravar e criar devido ao ambiente, equipamento e, em especial, às pessoas. Com o lançamento do novo disco previsto para o final de 2025, o que podem os fãs esperar dos próximos concertos ao vivo? Haverá espaço para surpresas ou colaborações? Miguel: A nível de concertos, o objetivo é introduzir novos instrumentos, em especial teclas e percussão pois os novos temas assim o exigem. Gostaríamos de poder contar com músicos convidados para trazer uma nova energia em palco e criar uma sonoridade mais rica e envolvente.
“Beyond the Switch is about shedding what no longer fits, even when it hurts”, SELIAS

Em Português aqui With the release of “Beyond the Switch,” SELIAS marks a transformative moment not only in their sound but also in their lyrical and emotional approach. The single, which blends heavy layers with an almost cinematic atmosphere, explores breaking free from destructive cycles and the introspection that follows the pain of betrayal. The track is a turning point for both the band and the concept behind Killkarma, an album deeply focused on breaking emotional and spiritual patterns. By Sandra Pinto In conversation with the band, we discover how influences like In Flames, Rammstein, and Orbit Culture, combined with a unique and visceral approach to sound, shaped this new chapter for SELIAS. Additionally, the video for “Beyond the Switch” — equally intense and visually charged — complements the sensory experience of the song, with a visual narrative that mirrors the emotional weight of the track. In this context, the band reflects on the impact of their music live, the creative process behind the sound, and their expectations for the highly anticipated Killkarma release. ⁠“Beyond the Switch” seems to mark a turning point, both thematically and musically. What inspired the story behind this particular track? The spark came from that instant when something inside you flips — when survival becomes transformation. Steve had written these tight, pressurized riffs that instantly felt like a breaking point, and I remember thinking, this is the sound of someone crossing a line. From there, we built the theme together: it’s about shedding what no longer fits, even when it hurts. The lyrics are the voice of that shift — the moment when resistance turns into rebirth. ⁠The single explores themes of betrayal and transformation — was there a personal or collective experience that influenced its creation?Absolutely. Everyone’s been through some kind of betrayal, and we’d all been feeling that in our own ways. For me, it came from realizing how often we keep playing roles that don’t serve us anymore. Writing “Beyond the Switch” was a release — a purge. It’s less about revenge and more about clarity. Dan’s rhythmic phrasing really captured that emotional turbulence; his drum parts feel like a heartbeat that’s trying to steady itself after chaos. How does “Beyond the Switch” reflect the larger narrative or concept behind Killkarma? Killkarma is built around the idea of breaking cycles — emotional, spiritual, karmic. “Beyond the Switch” is that decisive cut in the loop, where awareness becomes action. It sits right at the emotional center of the album. Musically it starts claustrophobic and ends with this sweeping, almost cinematic climax — the sound of finally breathing again after being underwater too long. The sound balances heaviness with atmosphere. What was your process in achieving that blend? We treat heaviness as emotion, not volume. Steve’s guitar work gives the structure its pulse — he writes riffs that are both mechanical and alive, almost like moving gears under pressure. Then we layered textures and dynamics around that, letting tension guide every shift. The balance came from restraint — knowing when to let space speak instead of filling every bar. That’s what gives the track its sense of movement and release. ⁠You’ve mentioned influences like In Flames, Rammstein, and Orbit Culture. How have those shaped this new era for SELIAS? Those bands taught us discipline in chaos. In Flames showed how melody can be weaponized. Rammstein taught the power of simplicity — that one perfectly placed riff can hit harder than ten. And Orbit Culture brought modern weight and cinematic scale into the picture. We absorbed those lessons but filtered them through our own lens — we’re not chasing anyone’s sound. This record is the first time Selias really sounds like Selias. ⁠The video for “Beyond the Switch” is visually intense. How involved were you in its creative direction? Completely. Visual storytelling is an extension of our music. The concept grew out of the song’s tension — the feeling of being trapped inside transformation. We worked closely with our director to make it feel physical, almost suffocating at first, then progressively more open and luminous. It’s not about narrative; it’s about emotional temperature. Every shot mirrors the internal conflict that drives the song. This is your second single from Killkarma. How does it contrast with “Bullets”? They’re connected but speak different languages. “Bullets” is rebellion turned outward — pure confrontation. “Beyond the Switch” turns that energy inward. It’s the aftermath of destruction, when you realize the next battle is internal. Sonically, “Bullets” hits you in the face; “Beyond the Switch” pulls you in, then expands into something almost cinematic. That final section feels like a release you didn’t know you needed. There’s a cinematic quality to your songwriting. Do you approach it like storytelling or scoring? Always. We think in visuals — movements, moods, light shifts. When we write, we talk about what the scene feels like, not what the chord is. That’s why every song has an emotional arc rather than a formula. “Beyond the Switch” feels like a transformation sequence; you can picture it unfolding frame by frame. It’s less a song and more a short film in sound. ⁠How have fans responded to the new material live? It’s been wild. When we play “Beyond the Switch,” you can sense the tension in the room build before the final climax hits. Then it erupts — it’s like collective release. People connect deeply to the energy, even before knowing the lyrics. That’s when you know a song works — when it bypasses explanation and goes straight to instinct. With Killkarma coming in November, what do you hope listeners take away from the full album? Freedom. Killkarma is about confronting what traps you — whether it’s guilt, fear, or your own history — and then burning it down. It’s heavy, emotional, and human. We didn’t write it to impress; we wrote it to survive. If listeners come out of it feeling like they faced something in themselves and came out lighter, that’s everything we …

“Poemas 1934-1961”, de Pedro Homem de Mello

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