Todas as faixas de IMAGES OF THE UNCONSCIOUS são improvisações em que o artista explora o uso de efeitos e processamentos do som da guitarra elétrica. Resultam daí paisagens sonoras abstratas que abandonam os discursos convencionais das estruturas formais tradicionais. Nessa proposta, é o timbre e as texturas (e não a melodia) que conduzem a experiência sensorial do ouvinte. Sob outro ponto de vista, o álbum também pode ser visto como um compêndio de trilhas sonoras advindas de experimentações por meio de diferentes técnicas de improviso e da expansão da linguagem da guitarra elétrica.
MIND OCEANS é uma coleção de improvisos que expande o universo sonoro da guitarra elétrica, com a criação de texturas e paisagens musicais singulares, resultado de anos dedicados à exploração de novos timbres e experimentações. Enfatizando o uso de efeitos e processamentos sonoros, Rodrigo Bragança explora novas possibilidades de discursos não-convencionais, por meio de diferentes técnicas de improviso e composição.
Como exemplos de seu discurso estético, o artista sugere uma caminhada em Third Walkers, enquanto em Mysterious Ocean introduz o primeiro clímax dessa narrativa; Suas escolhas são orientadas por momentos em que o timbre da guitarra foge do lugar comum e se aproxima de sons experimentais e etéreos, usualmente gerados em sintetizadores eletrônicos e presentes na ambient music contemporânea.
“Me permito entrar num fluxo de expressão natural em que me coloco atento e presente. São meditações ativas em que me lanço sem saber onde aquela música vai terminar – Nas correntes de ideias (ar) e emoções (água), vou para onde sinto que a corrente está me levando e preenchendo o oceano de sensações e viagens por águas profundas” – Rodrigo Bragança.
About the creative process of the album...
I don't think I've ever created such a spontaneous record. What I did was improvise from the guitar timbres/processing ideas that came up. Everything is improvised. What I did was select excerpts that I liked the most. My only concern was to generate moods, soundscapes that could sound interesting and serve some image. In fact, these songs for me are images, scenarios. From there, I could extract paintings, sets, films, narratives, or entire cities. Like Italo Calvino's Invisible Cities or even those Star Wars worlds.
In many cases, I recorded a loop with a musical idea that became the rhythmic structure or bed of the piece from which I developed the other ideas. Delays were used a lot on practically the entire record. Reverbs built a fundamental sonic identity for the entire album. They set the mood, determine the space where the music itself will take place. In Micro Space, some glitches are generated by processing the guitar's timbre. They are insects, aquatic spiders... For me, what marks this album is its experimental character and the attitude that I proposed to face the risk, launching myself in new paths for me, without knowing what the result would be. A search for something new has always been present, whether in a choice of timbre, in a melodic or harmonic path. In Psycho investigation, I use a feature that only exists on my Moog Guitar: the VO Power, which allows infinite sustaining of sounds. This helped me create long drones while the noisy and random glitches drew a more rhythmic outline of events. Another resource used was the e-bow (electric arc). Also with the property of sustaining the notes, but in Space Ants with a more aggressive timbre, the e-bow stitches the track from beginning to end processed by the tremolo effect. In Moon Tracker , the e-bow still commands... Mind Desert brings reverse effects, loops and delays. A piece made with the "leftovers" of sound. In Taking off the game is with rhythmic patterns over long notes.
The CD In_Ventos Poéticos vol.1 gathers performances of the meetings of the 1st season (2018) project 'In_Ventos Poéticos, where the sound makes the curve', which is shown on the YouTube channel.
The álbum is a record of dialogues in which Rodrigo enters with the particular sound of his guitar and its effects with pedals, and which always seeks to dialogue, motivate and be motivated by the other guest artist, be he another poet, musician or composer.
Produced by Rodrigo Bragança
All videos of these tracks are on the In_Ventos Poéticos channel on YouTube. To watch, click the button below.
Solo para um homem só (2017)
The sound landscapes created by Rodrigo Bragança to perform improvisations of music and dance with Priscila Torres invite the listener to immerse themselves in a universal feeling: loneliness. The poems from the book 'Solo para um Homem Só' are the starting point and guide for a journey that begins in the mother's womb, passes through childhood, adolescence, adulthood and crosses existence. The loneliness that we perceive, the loneliness that affects us without touching us, the loneliness that hurts in the body and hurts in the soul. The loneliness that throws us into the void, the loneliness that we don't know how to deal with, that implodes us and makes us explode. Abandonment, separation, loneliness imposed by something external, that necessary for our maturation and finally solitude, a state of wholeness that can heal us and give light to the darkness. The poetic-sonorative narrative delicately and forcefully draws the path of the only man who feels, processes, matures and transcends the pain of solitude through the search for self-knowledge and spirituality.
May this experience, in some way and at some level, transform us positively. May we be able to reconnect our humanity by examining our Being in depth to better see each other and the world around us with a more loving look.
Produced by Rodrigo Bragança.
Mixed by Ricardo Mosca.
Guitars, voices, theremin, bass, samples and programming by Rodrigo Bragança.
Lágrimas de chorar estrelas (2008)
In this disc, the instrumentation of the songs, has original textures of electric guitar, in addition to the voice of the composer-performer, a very unusual experience in the context of Brazilian popular music. In it, the artist explores its limits to the maximum and, consequently, expands and deepens its timbristic and expressive possibilities through the experimentation of new techniques and, still, with the aid of analog effect pedals. this without leaving aside the Brazilian character of the songs of an artist influenced by the Clube da Esquina movement of the 1970s, the starting point for this bold proposal.
Produced by ricardo mosca and co-produced by rodrigo bragança
what was said about the cd. . .
"It's great! A masterpiece! I freaked out with the incredible result you got with ultra-contemporary textures and harmonies, with unusual and inventive lyrics, without letting a second of being simple, expressive and deeply sublime .... Not to mention the production that is a thousand! ” Ale Siqueira, music producer
“Rodrigo is a wonderful orchestrator. These arrangements can be transcribed for wind instruments, strings or appliances. It is sublime. They are paintings in movement. The composition of the elements - in the sense of construction - is absurdly harmonious. I'm talking about the arrangements, but that permeates all instances of the CD: melodies, harmonies, cells
rhythmic, timbres, lyrics, script, plans (layers). There's a lot of tools, it's very-very creative, thought-provoking, there's always something surprising ... Your voice is beautiful. The timbre is full-bodied, has phrasing mega musical, expression, nuance, confession, delivery and donation. There is nudity. ” Ilana Volcov, interpreter
“... Rodrigo radicalizes his individuality here, as the 14 tracks are performed using his great voice and his excellent skill with the electric guitar exclusively. The result is an extremely melodic and sweet record, with a touch of melancholy to guide lyrics and arrangements. ”
Fabian Chacur, journalist - Portal MondoPop