This year, we, Portuguese, celebrate 50 years of the 25th of April, the revolution that ended a decade’s long dictatorship in our country. One of the many ways is to celebrate it through remembering the music that was a part of the operation itself, the music that led up to said revolution and the one that flourished in its’ aftermath.
The main feeling that came out of the 25th of April was a sense of freedom that we, as a people hadn’t felt in decades, and the music that came after the revolution was a reflection of this. This year, as part of the celebration, Fnac compiled the music collection Sempre! (“Always!”), curated by Henrique Amaro, and thus editing in vinyl format several records that had been out of print or, simply were never released in that format.
Free Pop by Pop Dell’Arte, came out in 1987 and is an interesting, but quite appropriate choice for this collection, since it embodies the musical experimentalism of the eighties in Portugal. Pop Dell’Arte, as a band was one the most original and experimental bands to have embodied that sense of freedom that was felt in 1974, going back to wiat I mentioned above it is a representation of the music that flourished in the aftermath of the revolution.
The music in Free Pop is uncompromising, experimental, erratic, and that’s the appeal! From the first song, which rellies heavily on percussion from drums to breaking glass as well as a heavy synth riff, with João Peste chanting over this controlled chaos. On “Rio Line”, the guitar on delay keeps the sonic motif throughout, while the drums keep a steady beat over Peste’s floating vocals.
On the instrument side, we have a great focus on synthesizers, heavy drums, with guitar flourishes throughout, and a steady bass holding the songs together. The line-up that recorded Free Pop includes Zé Pedro Moura on bass, Rafeal Toral and Sapo on guitar, Luís San-Payo on drums, as well as many guests like Adolfo Luxúria Canibal (Mão Morta) on volcals on the closer “Juramento sem Bandeira” (an interesting song that alludes to Lou Reed). There is an interesting choice of additional instruments on the many tracks that reflect the experimental side of this band, but for me, one of the stand-out tracks is “Avanti Marinaio” with the acoustic guitar front and centre, a rare moment of respite in a chaotic and erratic album.
And I mean that in the most positive light, since this album is like a still photograph of a period of musical experimentation that took place in Portugal after the 1974 Revolution and has continued, in some form or fashion to this day. There is always a sense that you will be surprised at every turn, and the listener is rewarded with an incredible sonic experience that broadens ones musical horizons.
In conclusion, the collection Sempre! has many astounding records in its release line-up, but for me the one to begin with is Free Pop. From then on, the sonic journey one has begun is always marked by a sense of freedom and hope.
