muzycy:
Luís Lopes electric guitar
Valentin Ceccaldi cello
Andreas Wildhagen drums

Editor's Info:
From drone to riff and from riff to desintegration and back again to some sort of form – those forms and others, in a perpetual transmutation. The new project by Portuguese guitarist Luís Lopes (Humanization 4tet, Lisbon-Berlin Trio, Garden, Lisbon Freedom Unit, Big Bold Back Bone, duos with Jean-Luc Guionnet and Julien Desprez, and more) associates him one more time with musicians from other countries, namely French cellist Valentin Ceccaldi and Norwegian drummer Andreas Wildhagen. If sometimes it sounds like metal-prog played by jazz musicians, in others you’ll be convinced it’s jazz played by extreme rock jammers – either way, it doesn’t matter. Genre or style is not the focus, but the way the materials are used, and abused. The guitar goes from intricate chord fingerings to blasting feedback noise, in a psychotic, more than psychedelic, trip through prepared and effect-pedal abstract or figurative explorations. The over-amplified cello works as a Hammond organ, a bass, a rock vocalist, a free improvising tenor sax soloist and, well, a cello. The drumkit suffers from short attention span – it gets groovy and motoric or textural as a Jackson Pollock painting. The music is like lava, incandescent, abrasive, thick and dark. A black boulder with luminous cintilations. The name of the band says it all, in its remembrance of the French Revolution. Here is a record with political implications, expressing the current state of things, the one that makes us feel our heads are in danger to roll. Guillotine, a trio inadvisable for the weaks of spirit.

Editor's Info:
From drone to riff and from riff to desintegration and back again to some sort of form – those forms and others, in a perpetual transmutation. The new project by Portuguese guitarist Luís Lopes (Humanization 4tet, Lisbon-Berlin Trio, Garden, Lisbon Freedom Unit, Big Bold Back Bone, duos with Jean-Luc Guionnet and Julien Desprez, and more) associates him one more time with musicians from other countries, namely French cellist Valentin Ceccaldi and Norwegian drummer Andreas Wildhagen. If sometimes it sounds like metal-prog played by jazz musicians, in others you’ll be convinced it’s jazz played by extreme rock jammers – either way, it doesn’t matter. Genre or style is not the focus, but the way the materials are used, and abused. The guitar goes from intricate chord fingerings to blasting feedback noise, in a psychotic, more than psychedelic, trip through prepared and effect-pedal abstract or figurative explorations. The over-amplified cello works as a Hammond organ, a bass, a rock vocalist, a free improvising tenor sax soloist and, well, a cello. The drumkit suffers from short attention span – it gets groovy and motoric or textural as a Jackson Pollock painting. The music is like lava, incandescent, abrasive, thick and dark. A black boulder with luminous cintilations. The name of the band says it all, in its remembrance of the French Revolution. Here is a record with political implications, expressing the current state of things, the one that makes us feel our heads are in danger to roll. Guillotine, a trio inadvisable for the weaks of spirit.