Se fosse eu a escolher a música deste Natal...por Jon Marx mentor da Lista Rebelde (O Som da Frente)

Se fosse eu a escolher a música deste Natal…por Jon Marx mentor da Lista Rebelde (O Som da Frente)

by lookmagpt Dezembro 22, 2021 887 Views

«Pediste-me uma canção de Natal e estive para escolher a “Christmas Card From A Hooker In Minneapolis” do Tom Waits, mas como não quis ser depressivo, apesar de achar a canção belíssima, resolvi escolher “Another Lonely Christmas” do Prince», revele Jon Marx

«Esta é uma canção sobre a solidão e a morte, dois temas que pairaram sobre os Natais passado e corrente e, pelos vistos, prometem continuar a assombrar o nosso top de preferências de estados de alma ao longo de 2022».

Tags : Jon Marx, Lista Rebelde (O Som da Frente)

À conversa com Viviane

Viviane lança hoje o seu novo single Alfama, disponível em todas as plataformas digitais. Esta é a primeira canção do disco que a artista vai lançar até ao final de 2026, dedicado a prestar homenagem a grandes cantoras que deram voz a bandas marcantes da música portuguesa. Durante a conversa, Viviane falou sobre a sua chegada a Portugal no início dos anos 80, uma experiência que marcou profundamente a sua formação musical, e sobre o seu grupo de sempre, Entre Aspas, que tem sido uma presença constante na sua carreira. Em Alfama, o bairro lisboeta é retratado através de uma linguagem surrealista, onde o Fado se cruza com a Pop, mantendo o espírito original da canção mas com a voz carismática e a identidade artística de Viviane. O videoclipe do single foi gravado na Casa de Fados Maria da Mouraria e realizado por Aurélio Vasques, refletindo a ligação entre a tradição portuguesa e a abordagem contemporânea da artista.
Tondela Rocks regressa a 25 de abril com Master em data única e forte aposta no metal nacional

A cidade de Tondela prepara-se para receber mais uma descarga de peso e distorção com o regresso do Tondela Rocks, marcado para o próximo dia 25 de abril. A 9.ª edição do festival volta a acontecer na Associação Recreativa e Cultural Ermidense e reafirma a sua posição como um dos eventos mais sólidos do circuito underground nacional, reunindo bandas de referência do metal e do hardcore, a par de novos nomes da cena alternativa portuguesa. Com produção da Rocha Produções, o festival mantém a sua identidade enquanto ponto de encontro de diferentes linguagens do rock pesado, apostando num cartaz diverso e equilibrado entre veteranos internacionais e projetos nacionais em ascensão. O grande destaque internacional desta edição são os Master, nomes históricos do death metal norte-americano, que celebram mais de quatro décadas de carreira. A atuação em Tondela será a única data em Portugal em 2026, prometendo um concerto intenso e marcante para os seguidores do género. O alinhamento inclui ainda os Revolution Within, que assinalam duas décadas de atividade com o seu groove/thrash metal técnico e energético. De Lisboa chegam os Black Hill Cove, trazendo uma abordagem mais próxima do hardcore, marcada pela agressividade e forte presença em palco. Do norte do país apresentam-se os Voidwomb, uma das propostas mais sombrias do underground nacional, cuja fusão de black e death metal tem vindo a conquistar reconhecimento pela identidade estética e sonora. A cidade de Coimbra estará representada por dois projetos distintos: os Mizzura, com a sua energia punk/crust direta e combativa, e os aBAND’onados, que apresentam um rock musculado e dinâmico, com influências funk e forte ligação ao público. A abrir a noite estarão os Propagandaz, responsáveis por dar o arranque a uma jornada de alta voltagem sonora. Horários e bilhetes As portas abrem às 16h00, com o início dos concertos marcado para as 17h00. Os bilhetes custam 15€ em pré-venda e 20€ no próprio dia. As entradas estão disponíveis através da Ticketline e também por MB Way, diretamente junto da organização. Ao longo das suas várias edições, o Tondela Rocks tem vindo a consolidar-se como uma plataforma de valorização da música pesada em Portugal, promovendo o cruzamento entre nomes consagrados e novas apostas da cena nacional. A edição de 2026 promete manter essa linha, oferecendo ao público uma experiência intensa, diversa e fiel ao espírito do underground.
“We have a lot of fun digging into dark topics together”, HOAXED

The American band HOAXED returns with Death Knocks, an album that marks a new chapter in their journey — not as a departure, but as a natural evolution of a sound that has been steadily growing stronger over the past few years. Written over a three-year period between tours and increasingly intense live performances, the record was born out of a time of self-discovery, growth, and the solidifying of the trio’s identity. By Sandra Pinto With the addition of April Dimmick, whose heavy metal background brought new sonic layers and a powerful vocal dynamic, the band deepened its fusion of dark rock, power pop, and metal, exploring denser textures, harsher vocals, and a mystic, intense atmosphere. Recorded in just eight days, Death Knocks captures that raw confidence and energy, while also reflecting the band’s experiences on the road and the strong chemistry between its three members. In this conversation, we dive into the creative process behind the album, the influences that shaped its sound, the vocal duality that defines the band, and what lies ahead for a project that continues to carve out its own distinct identity. How did the idea for Death Knocks come about, and what was the writing process like over the past three years? We wrote this album between tours – we were really learning about ourselves as a band and what we were capable of within the touring sphere. We’d been incorporating new sounds, harsher vocals and new styles into our live performances. This album was formed as we were exploring those ideas. The album theme came to us after a few songs – we noticed a common theme of curiosity around death and went with it. April Dimmick joined the band and brought a new dynamic. How did her heavy metal background influence the album’s sound? We grew as a band together with April – so while her influence is the easiest to pinpoint in the songs (harsh vocals, etc), we really came into this new sound all together. April’s bass + vocal stylings were a great add and fit the established Hoaxed sound so well – it was really fun to grow the new sound together for this album. You’ve said the album isn’t a departure, but a natural evolution. Can you explain how that evolution happened in your day-to-day work as a band? Yes – we’ve never played a show without April. So, to us, this sound is what Hoaxed has always meant to be. It just took us getting all 3 of us on a recording to finally share that with the listeners. Which bands or artists had the biggest influence on the sound of Death Knocks? We all have very different musical influences and inspirations. Kim is more pop punk, emo and classic rock. Kat leans more punk rock with a strong preference for Motown. April is more classic metal. This album is a really nice combination of all those differences. We leaned into our differing styles and combined to make one sound. The album blends dark rock, power pop, and heavy metal elements. How did you balance these styles while keeping your own identity? Honestly, it just felt natural to combine these songs together under the Hoaxed name. It’s something we’ve been playing with a lot in our live sound and this album – and the extended writing window – gave us a lens to finally frame this new sound through. Kat, your vocals are described as “sorcerous hooks,” and April brings an “angels and demons” contrast. How do you work this vocal duality in the studio and on stage? April’s voice packs a ton of power while Kat is the story teller – we’re able to strike a balance between the two due to how different they are. Kat + April never have to fight for the spotlight – both vocal styles work well layered together. Death Knocks was recorded in just eight days, which is relatively fast. What was that experience like, and how did it shape the final result? It was a blast. We went a lot faster than we anticipated – we had a lot of time with these tracks before we hit the studio, so we felt really comfortable by the time we recorded. We just had a lot of fun trying ideas and laying down parts. It flowed really well and effortlessly. You worked with Gabe Johnston on production and Arthur Rizk on mixing/mastering. What did each of them bring to the album’s sound? Arthur was such a miracle last-minute add to this project. We haven’t planned on working with him – but a series of events led us to this opportunity and he knocked it out of the park. He was super easy to work with. He took our written feedback and perfectly executed our vision. It’s a skill not many mixers possess and we were so pleased with the outcome. You mentioned touring experiences influenced the songs. Are there any specific stories or moments from the road that inspired a track? Overall, we took a lot of the learnings and new sounds we worked up in our live sets into this album. We have been working with this “sound” for the last 3 years and were so happy to finally share it with others via this album. “Where the Seas Fall Silent” opens the album with a mystical atmosphere. What’s the story or concept behind this song? This was the first track we wrote for the album and a theme we’d been working on for a while. We get a lot of soft comparisons to sirens due to our vocal delivery. A few days into writing this song, it felt very sea-based. Kat dug into this idea for a lyrical theme and they pared really well with the music. And the song was born! “Kill Switch” and “The Family” feature heavy grooves and powerful riffs. How did these songs come together, and how did you decide on their final arrangements? Both …
“Music is a gift and we are thankful to share this gift with everyone who is listening”, BRUECKEN

BRUECKEN’s latest album, Years That Answer, marks a compelling evolution for the post-rock/post-metal collective, blending introspection with urgent, socially conscious energy. Spanning four years of creative development across multiple cities, the record channels both personal reflection and broader societal questions, translating themes like climate crisis, war, and rising authoritarianism into immersive musical narratives. By Sandra Pinto With the reintroduction of vocals and collaborations like the Emden Kneipenchor, the band balances atmospheric fragility with crushing heaviness, electronic textures with organic instrumentation, and moments of quiet introspection with cathartic release. The result is an album that feels less like a collection of songs and more like a journey — one that invites listeners to engage emotionally, intellectually, and sonically, while leaving space for hope, resilience, and reflection in turbulent times. We Raise is described as urgent and introspective. What inspired the themes of the song, and how does it set the tone for Years That Answer?   DAVE: The theme of urgency is definitely inspired by the band's new situation at the beginning of writing Years That Answer. Since we moved to different cities, we had to find a new way of working as a band. You can feel that urgency when listening to the driving force of the rhythm section. I think it beautifully reflects us trying to overcome limitations of space and time to make this music possible and come to life. The introspection part comes in when asking how our particular situation fits in a broader, more societal picture. Questions can make a difference. They point to things that are valuable for us as human beings. One thing is for sure, we prefer to live in a society that is open to questions rather than one of readymade answers. The album title is drawn from Zora Neale Hurston’s quote, “There are years that ask questions, and years that answer.” How does this idea shape the narrative or emotional arc of the record?   THORGE: Dave more or less stumbled across the quote and we were immediately struck by its force. It’s taken from the 1937 novel Their Eyes Were Watching God, but we’re very conscious that we wouldn’t want to interpret the novel or speak for the experience it emerges from. For us, the line became a very fitting starting point for reflection that we felt could very well stand for itself. At the same time we want to treat it with a lot of respect for its source, so it feels important to acknowledge where this quote comes from. Because the struggles Hurston was writing from and about have never been evenly distributed. Many people, particularly those with far fewer privileges than us, fought tirelessly for progress that is now once again under serious attack. We don’t speak for those experiences, but we do feel a responsibility to position ourselves clearly in solidarity and to remind ourselves and others that defending what has been fought for cannot be left to those most affected alone. Emotionally our record and the new songs developed out of the frame of our previous album “Innere Unruhen”, which was marked by a sense of unrest. With “years that answer” we wanted to shift the focus toward a message of endurance: the sense that even when activism and making an effort feels exhausting or futile, giving up is not an option. Believing that there will be “years that answer”, is often what makes it possible to keep going at all. This idea is essential to us as a band and it tied the existing songs and ideas together in a very fitting manner. So both aspects together definitely shaped and informed the album in its final form but weren’t completely new in the BRUECKEN cosmos. Hope has always been a recurring theme and for us hope is the decision to stay engaged, to take responsibility and to act as if answers are possible even when they are not yet visible. The album confronts issues like climate crisis, war, and rising authoritarianism. How do you translate these heavy societal themes into instrumental and vocal music?   FLO: In a time when the climate crisis, geopolitical tensions, and authoritarian tendencies are on the rise, we find ourselves asking at what point concern turns into a duty to resist. Many of these crises overlap and reinforce one another, leaving the feeling that there are currently more open questions than clear answers. We wanted to translate this uncertainty and inner conflict into our music. The calm, introspective passages represent moments of pause and self-reflection, like taking a breath to even begin to grasp what is happening. The powerful and loud parts on the other hand express courage, resilience, and the will to become active and to hold one’s ground in this world. A counterbalance for us is hope, which is reflected especially in the vocals. They are meant to convey a sense of reassurance; something we need more than ever in these challenging times. For us, the album is therefore not only a confrontation with fear and overwhelm, but also an attempt to open up an inner space for hope, empathy, and the ability to act. Vocals are reintroduced for the first time since your 2017 EP. How did the decision to include both solo and choral vocals change the dynamic of the album?   THORGE: Interestingly, the decision to include vocals happened quite late in the overall process. They appeared as finishing touches during the songwriting stage. Bringing vocals back was an idea we had talked about for a long time, were curious about and interested in but we never really committed to trying it out properly. The first draft of the small vocal part in periapsis came from a very spontaneous, momentary idea rather than anything carefully planned or worked out. It wasn’t even recorded with a proper microphone, just sung into headphones. But it immediately resonated with everyone, so we kept it. At the same time the idea of adding a choir emerged. None of us are trained in …
“Some ideas need to sit in a jar on a shelf for a few weeks until they can be further processed”, ZAHN

With their latest release Purpur, ZAHN takes listeners on a bold and immersive journey through dense, hypnotic soundscapes that blend rock, electronic textures, Krautrock, Dark Jazz, Noise Rock, and Post-Punk. Felix Gebhard, speaking for the trio, explains how Purpur represents the band’s evolutionary process — a careful balance between experimentation and the mastery of their craft — while maintaining a signature intensity and subterranean depth. The album’s intricate arrangements, collaborations with guest musicians, and striking visual aesthetic all reflect ZAHN’s collective creative ethos: music that ferments, evolves, and challenges conventional boundaries. By Sandra Pinto For newcomers and long-time fans alike, Purpur promises an experience that is as sensory and emotional as it is physically compelling — a record meant to be felt, absorbed, and explored in full immersion. Purpur has been described as your boldest album yet. How would you define this evolution compared to your previous work? Some things take a while to be fully figured out. In ZAHNs case this means that certain techniques and the knowledge and confidence to use them have to grow over a longer period to then be fully implemented in ZAHNs creative process. The work on each album comes with its own learning curve, new tools, new colors, a new set of mind(s). It’s an evolutionary process and at the risk of sounding cocky I would like to state: With each album we’re getting better at what we’re doing. The album blends rock and electronic elements in a very intense way. What was the starting point for finding that balance between synthetic and organic sounds? Rather than a precise starting point there has been a long process of elements seeping in and out. Tools and instruments were found on the way and added to the band’s palette. The balance forms after what a particular song requires. The title Purpur and the cover art are full of color and fruit references. How does the visual aesthetic connect to the music on the album?The visual aesthetic and concept around that and the album’s song titles are an important factor that may or may not make sense to anyone outside the band’s inner life. However, by putting it out into the world as a piece of art we can claim that there is indeed a direct connection between the product’s acoustic and visual factors and from that moment on everyone has to agree that this connection exists. You’ve described the record as “fermented” rather than composed. What does this mean for your creative process as a trio? . Magnus Lindberg mixed and mastered the album. How did his approach influence the final result and the album’s dense sonic texture? We had worked with Mr Lindberg before because we love his work, and since that previous cooperation was a very fruitful one, we wanted to go for it again. To quote Alf Ramsey: ”Never change a winning team”! You worked again with Peter Voigtmann in the studio. What is the recording and production dynamic like with him? Peter Voigtmann is one of several honorary members of the band ZAHN. There’s been establshed a, for lack of better words, hive-mindesque way of communication between these individuals, not many words are needed on the way to achieving excellent results. The sound of the album is intricate, dense, and almost hypnotic. What techniques or instruments helped create that “subterranean depth”? The main factor in creating the album’s sound is indeed the high quality of Northern Germany’s surviving network of atomic energy which feeds directly into the power hub of Peter Voigtmann’s studio ”Die Mühle”. While the whole world turns to ”alternative” power and regenerative energy, the best-sounding results when using tube-driven power amps, are still achieved by using good old nuclear power. The album features guest appearances from Fabian Bremer and Kjetil Nernes. How did these collaborations come about, and how did they shape the final tracks? Fabian Bremer is another well-established honorary member with many years of service in the world of ZAHN, both in the visual and the musical department. It has become a so-called no-brainer to have him sprinkle his magic over ZAHNs music. Kjetil Nernes has appeared on the verge of ZAHNs cosmos a while ago and has been nominated junior honorary member as a result of this recent contribution. We all couldn’t be happier about having him on board and are looking forward to a fruitful and exciting common future. Purpur draws on Krautrock, Dark Jazz, Noise Rock, and Post-Punk. What were the main influences that shaped this record? Rather than listing more genres here I would like to think that the key to Purpur is immersing oneself into the collective process of coming up with interesting music. There’s a strong sense of danger and intensity in the sound. What personal experiences or emotions inspired these atmospheres? A certain sense of frustration about not being eloquent enough to be able to in a profound and useful way add to turning around the current global shit show, ZAHN instead tries to shift focus and help to let loose, if only for the duration of a show or a record’s length. Danger and intensity appear by themselves. How would you describe ZAHN’s sound in three words to someone who’s never heard you before? Chris, Nic, Felix. After three albums, how do you balance innovation and consistency while maintaining your musical identity? If ZAHN has a musical identity it is defined by the will to try new things and not go the path well traveled. The consistency, if there is one, exists by digging into the numerous tool boxes available to ZAHN. There is no particular worry about how to balance these things. What kind of experience do you want listeners to have with Purpur — is it emotional, physical, or purely sensory? It can be any of the above. In a perfect scenario listeners are enjoying Purpur through a high-quality sound system at rather high volume in a room of at least 20 square meters. That …

Se fosse eu a escolher a música deste Natal…por Jon Marx mentor da Lista Rebelde (O Som da Frente)

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