muzycy:
Savina Yannatou voice
Joana Sá, piano semi-prepared piano & props

Editor's Info:
a. In Athens, after a concert at the Big Bang Festival at the Onassis Foundation, I was approached by a mysterious and friendly woman. She introduced herself as a singer and proposed to collaborate with me. I did not know who she was. She wrote her name and e-mail on a little piece of paper.

b. At the hotel, I checked the name that I had not understood before: Savina Yannatou… was asking me (?!) to play. (on the one hand, I was dying of embarrassment… on the other, I was so happy and excited I could barely sleep).

c. In the following months we wrote each other e-mails, and exchanged CDs &, DVDs. I wanted to book a concert venue in Lisbon as a way of starting to work together. Savina decided to come to Lisbon before a concert was even booked.

d. There are once in a lifetime meetings and events that seem beyond explanation. The experience of playing with Savina is one of those: two faraway women come together and, making music, there is a strange feeling of ‘knowing’ each other for ages: before, after, beyond…

e. What is special about these kinds of meetings is not finding a ‘musical something’ that is familiar to you, that you can somehow already recognize and easily integrate in your x –y musical coordinates of rational thought, and playing. What is special and overwhelming in these rare occasions is sensing an unfamiliar as being intimately close, sensing an unfamiliar as if it had always been part of you. You don’t just discover ‘a strange other’ as most ‘familiar’, you discover your intimate ‘self’ as a stranger to yourself.

f. Ways of notseeing is a collection of quasi-songs, never to be songs, songs that strange themselves in their own process of becoming, songs undone… that paradoxically seem to use different alienating processes of estranging themselves as ways of devel.......
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