The folk of Colegas de Trabalho is neither American nor Portuguese. It is Éme’s, more refined than ever. Although echoes of Bonnie “Prince” Billy (in some of the violins), Silver Jews (especially in the near-spoken vocal delivery), or Sufjan Stevens (lurking in the final song) may come to mind, the album is not a derivative of any of them. What we recognize instead is Éme himself, more mature, focused on telling good stories, embracing his peculiarities, flaws, charisma, and sense of humour.
The arrangements are the most surprising aspect of this record. The textures created through the interplay between choirs, violin, keyboards, and flute, in relation to the rhythm section, allow for continuously new ways of hearing these songs. Each melodic line exists on its own, yet is enriched by its interaction with the others.
One might think that, unlike Disco Tinto (2024), the songs on this album are not bound by a common theme, but there is one: the central axis of Colegas de Trabalho is the inevitability of failure. The album explores failure in its broadest sense, including mistakes, errors, and mishaps, and the beauty that can be found in them, without ever idealising it.
The arrangements are the most surprising aspect of this record. The textures created through the interplay between choirs, violin, keyboards, and flute, in relation to the rhythm section, allow for continuously new ways of hearing these songs. Each melodic line exists on its own, yet is enriched by its interaction with the others.
One might think that, unlike Disco Tinto (2024), the songs on this album are not bound by a common theme, but there is one: the central axis of Colegas de Trabalho is the inevitability of failure. The album explores failure in its broadest sense, including mistakes, errors, and mishaps, and the beauty that can be found in them, without ever idealising it.
ÉME
The folk of Colegas de Trabalho is neither American nor Portuguese. It is Éme’s, more refined than ever. Although echoes of Bonnie “Prince” Billy (in some of the violins), Silver Jews (especially in the near-spoken vocal delivery), or Sufjan Stevens (lurking in the final song) may come to mind, the album is not a derivative of any of them. What we recognize instead is Éme himself, more mature, focused on telling good stories, embracing his peculiarities, flaws, charisma, and sense of humour.
The arrangements are the most surprising aspect of this record. The textures created through the interplay between choirs, violin, keyboards, and flute, in relation to the rhythm section, allow for continuously new ways of hearing these songs. Each melodic line exists on its own, yet is enriched by its interaction with the others.
One might think that, unlike Disco Tinto (2024), the songs on this album are not bound by a common theme, but there is one: the central axis of Colegas de Trabalho is the inevitability of failure. The album explores failure in its broadest sense, including mistakes, errors, and mishaps, and the beauty that can be found in them, without ever idealising it.
The arrangements are the most surprising aspect of this record. The textures created through the interplay between choirs, violin, keyboards, and flute, in relation to the rhythm section, allow for continuously new ways of hearing these songs. Each melodic line exists on its own, yet is enriched by its interaction with the others.
One might think that, unlike Disco Tinto (2024), the songs on this album are not bound by a common theme, but there is one: the central axis of Colegas de Trabalho is the inevitability of failure. The album explores failure in its broadest sense, including mistakes, errors, and mishaps, and the beauty that can be found in them, without ever idealising it.
thu.10.09
concert
GB
sat.12.09
concerts
AMPM + TRASGO
fri.18.09
concerts
AMULETO APOTROPAICO + NUNO LOUREIRO