MAKE-UP in Primavera Sound 10-6-2017
Eu (me agarrado ao braço de Ian Svenonius .. para o ajudar a subir...) o Nuno Calado, a Marta Abreu, antiga baixista dos grupos Voodoo Dolls, e o lider da banda alternativa Portuguesa Mao Morta... o Adolfo Luxuria Canibal, antes do concerto começar, enquanto faziam a montagem do palco, por onde andava, Ian Svenonius, e a banda... e como a frente do palco ainda não estava ocupada, nós posicionamos logo mesmo em frente, na primeira fila.... por onde o Ian Svenonius subia pela grade, para se colocar em cima do publico.
Adolfo Luxúria Canibal (Luanda, 25 de dezembro de 1959), de nome de baptismo Adolfo Augusto Martins da Cruz Morais de Macedo, é um advogado, músico e poeta português.
Adolfo Luxúria Canibal nasceu em Luanda, Província Ultramarina de Angola. Cresceu entre Vieira do Minho e Braga e em 1978 mudou-se para Lisboa, para estudar Direito.
Viveu em Lisboa de 1978 até 1999, onde, após terminar o curso de Direito, exerceu a advocacia e a consultoria jurídica.
Na qualidade de especialista em Direito do Ambiente foi orador convidado em diversos congressos e seminários, portugueses e estrangeiros, e professor em cursos de formação, de pós-graduação e de mestrado. Integrou de 1993 a 1999 um Grupo de Peritos Jurídicos da Convenção de Berna, junto ao Conselho da Europa, em Estrasburgo.
No final de 1999 foi habitar para Paris, cidade onde praticou diversos misteres, como tradutor, actor de figuração, gerente comercial, jornalista, cronista, voz para telemóveis, estudos de mercado, crítico musical ou gestor liquidatário de sociedades cinematográficas. No final de 2004 regressou a Braga e à consultoria jurídica, cidade onde reside actualmente.
Entre 1979 e 1982 Adolfo Luxúria Canibal esteve casado com Eva Machado, bisneta do antigo Presidente da República Bernardino Machado, com quem teve uma filha, Isabel Sofia, nascida em Braga em fevereiro de 1980.
Isabel Sofia vive em Cork, na Irlanda, desde 2007, tendo feito o doutoramento em engenharia alimentar na Universidade local, mas de 2012 a 2014 habitou em Chicago, nos EUA, onde em maio de 2014 nasceu o seu filho Leonardo, primeiro neto de Adolfo Luxúria Canibal.
Este, entre 1993 e 2004, viveu maritalmente com a cineasta francesa Mariana Otero, com quem teve o segundo filho, Mateus, nascido em Lisboa em julho de 1997 e que, desde 1999, habita em Paris, com a mãe.
Actualmente Adolfo Luxúria Canibal vive com Marta Abreu, antiga baixista dos grupos Voodoo Dolls e Mão Morta e gestora hoteleira, proprietária do restaurante japonês Hocho.
Letrista e vocalista do grupo Mão Morta, desde 1984, depois de ter fundado e exercido igual função nos grupos Bang-Bang (1981), Auaufeiomau (1981-1984) e PVT Industrial (1984). De 2000 a 2009 integrou o grupo francês Mécanosphère, como vocalista.
Participou ainda como vocalista ou letrista em diversos discos e espectáculos de mais de uma dezena de grupos e artistas portugueses e estrangeiros, como Pop Dell'Arte, Clã, Moonspell, WrayGunn, Houdini Blues, Jorge Palma, Pat Kay & The Gajos, Steve Mackay, Mark Stewart ou Hilmar Orn Hilmarsson.
Encenou e actuou em performances e espectáculos multimédia como Rococó, Faz o Galo (1983), Dos Gatos Brancos que Jazem Mortos na Berma do Caminho de Ferro (1983), Labiu e a Pulga Amestrada (1984) e Müller no Hotel Hessischer Hof (1997), ou foi apenas actor, como em Maldoror (2007), encenado por António Durães.
Foi também actor em teatro, na peça Eis o Homem! da companhia Mundo Razoável, encenada por Marta Freitas (2013). Foi ainda autor de espectáculos de spoken word, a solo (1999) ou com António Rafael (desde 2004), sob a designação de Estilhaços.
Concebeu, com João Martinho Moura e Miguel Pedro, a performance de arte digital Câmara Neuronal para a exposição FrameArt da Capital Europeia da Cultura - Guimarães 2012. Participou na concepção colectiva e actuou, com os Mão Morta, José Mário Branco, Fernando Lapa, Amélia Muge e Pacman, no musical Então Ficamos..., espectáculo de comunidade de encerramento da Capital Europeia da Cultura - Guimarães 2012 encenado por António Durães.
Com António Rafael concebeu, gravou e interpretou ao vivo a banda sonora para a instalação The Wall of Pleasure do artista plástico Tiago Estrada na Rooster Gallery, em Nova Iorque (2013).
Ainda com António Rafael e Miguel Pedro compôs e actuou no musical Chão, um espectáculo de comunidade, com a participação de 70 mulheres de Paredes de Coura, encenado por João Pedro Vaz para o décimo aniversário da companhia de teatro Comédias do Minho.
Concebeu a colectânea de bandas bracarenses À Sombra de Deus, tendo realizado, com Berto Borges, o seu primeiro volume À Sombra de Deus - Braga 88, editado pela Câmara Municipal de Braga, e, com Miguel Pedro, o quarto volume À Sombra de Deus IV - Braga 2012, editado pela Capital Europeia da Juventude - Braga 2012. Em 2002 criou, com António Rafael e Miguel Pedro, a editora independente Cobra, tendo editado vários discos de Mão Morta e de artistas como Anger, Erro!, Houdini Blues, Fat Freddy, Jazz Iguanas, Umpletrue, Mundo Cão ou At Freddy's House.
Participou como actor nos filmes Gel Fatal, de António Ferreira, e O Dragão de Fumo, de José Carlos de Oliveira, e concebeu, com João Onofre, o filme de videoarte S/título (мій голос), exibido no 19.º Festival Internacional de Cinema - Curtas de Vila do Conde. Em 2012 foi objecto do documentário Fado Canibal, realizado por Timóteo Azevedo.
Escreveu textos diversos para jornais e revistas, como a Vértice ou a 365, e foi, de 2000 a 2004, correspondente do jornal Blitz. Teve uma coluna de opinião no semanário O Independente (1999) e manteve, de 2001 a 2004, uma crónica semanal na rádio Antena 3 e, de 2008 a 2010, uma crónica quinzenal na revista Vidas do diário Correio da Manhã. Desde janeiro de 2011 tem uma rubrica mensal na revista Domingo do mesmo diário e desde janeiro de 2014 uma crónica quinzenal no semanário Sol.
Editou os livros Rock & Roll, Estilhaços, Estilhaços e Cesariny e Todas as Ruas do Mundo e escreveu o prefácio para uma edição de Os Cantos de Maldoror, do Conde de Lautrèamont. Foi autor de uma súmula sobre a história do Parque Nacional da Peneda-Gerês e de um ensaio ecocrítico sobre os romances de Valter Hugo Mãe.
Criou com o fotógrafo e artista plástico Fernando Lemos o livro-objecto Desenho Diacrónico, editado no Brasil por ocasião da inauguração da sua exposição retrospectiva Lá e Cá, na Pinacoteca do Estado de São Paulo. Traduziu Heiner Müller (1997) e Vladimir Maiakovski (2006).
Foi considerado, em 2003, pelo semanário Expresso, como uma das cinquenta personalidades vivas mais importantes da cultura portuguesa.
Em 2011, nas Comemorações do Centenário da Universidade de Lisboa, foi um dos 100 ex-alunos convidados para proferir uma palestra no ciclo 100 Lições, a que deu o título Profissão: Diletante. Da Música à Conservação da Natureza.
Nuno Calado apresenta o programa de radio Indigente, há mais de 15 anos... o som mais alternativo e atual da rádio, na Antena 3, de segunda a quinta-feira, entre as 23h e as 24h.
Atua como locutor e produtor de rádio na Antena 3 e comentarista da SIC Radical.
The Make-Up was an American post-punk band from Washington, D.C. formed in 1995, consisting of frontman Ian Svenonius on vocals, James Canty on guitar and organ, Steve Gamboa on drums, and Michelle Mae on bass guitar.
The Make-Up were joined in late 1999 by a fifth member, Alex Minoff (of the groups Golden and Extra Golden), who played guitar with the group until the band's dissolution in early 2000.
The Make-Up combined garage rock, soul, and a self-styled liberation theology to make a new genre they called "Gospel Yeh-Yeh".
This style led to an emphasis on live performances and interaction between the band and their audience, incorporating the audience into the performances as a "fifth member", creating what one reviewer described as ""highly energetic and participatory live shows".
Ian Svenonius is American musician and singer of various Washington, D.C.-based bands including Nation of Ulysses, The Make-Up, Weird War, XYZ, Chain and Gang...
MAO MORTA - Miguel Pedro (bateria), Joaquim Pinto (baixo), Carlos Fortes (guitarra), AdolfoLuxúria Canibal (voz) e Zé dos Eclipses (guitarra) arquivo Blitz
In October of 1984, Joaquim Pinto watches in Berlin to a performance of the Swans. At the end of the concert is Harry Crosby, a bassist from the New York band, who tells him that he has a bass player. Pinto returns to Braga, buys a bass and, in November of that year, forms the MAO MORTA, with Miguel Pedro on guitar and Adolfo Luxúria Canibal in the voice.
The MAO MORTA premieres live, in January 1985, in Porto, in Orfeão da Foz. Ze of the Eclipses enters for guitarist Miguel Pedro passing to the drums.
In November 1985, Zé dos Eclipses debuted live at the concert held at Fábrica, Braga. They participate in the 1st New Rock Music Contest, in the Infante Pavilion of Sagres, where they are in 4th place.
They are compiled for the III Rendez-Vous Rock Modern Music Contest where they would win the Originality Prize, which was the most appealing and prestigious award after their submission in the previous year to Pop Dell'Arte.
In September, Carlos Fortes joined the group on the 2nd guitar, and in October 1986, performed their international debut with a concert in Vigo (Spain), El Kremlin, integrated in the Rock Vigo-Oporto 86 In the course of this participation would come to frutify a friendship between the Mao Morta and Pop Dell'Arte, who were also part of the poster.
The first edition of the band, the cassette Mao Morta (1987).
The year of 1987 was marked by the devastation of Cinema Império, in Lisbon, when the Mao Morta integrated in the poster of the Days of the Empire, there acted in October together with the American Gun Club.
In October of 1988 they made the first part of the British Wire, in the Pavilion Infante de Sagres, in Porto, when the LP was launched, a new music journal that was more focused on the independent scene than the Blitz.
In December they make the first two parts, at the Carlos Lopes Pavilion in Lisbon and at the Rivoli Theater in Porto, the Australian Nick Cave with his Bad Seeds.
They participate in the compilation À Sombra de Deus, with the subtitle Braga 88 that had a great impact media, not only for being the first time in Portugal, a City Council supported the youth culture and edited a disc of local bands, but above all .For finally being available a record of what was known as the bracarense movement, of which much was said but a few, outside Braga, knew, taking away their most notorious representatives Mao Morta, Rongwrong and Bateau Lavoir.
In spite of being a year of great musical activity, 1989 would end up in the history as the one in which Adolph Luxúria Canibal inflicted itself several blows on a leg in a concert realized in Rock Rendez-Vous completely crowded.
Months later, in a television interview, it was justified by saying that Rock Rendez-Vous was too full, with a very heavy, "knife-cutting" environment, and before it could happen any misfortune decided to show blood, "because blood calms the moods, "but with the heat of the installment had not realized the severity of the injuries ...
They began to prepare a new disc but Joaquim Pinto leaves the band after the concert that the Mao Morta gave in January of 1990 in Rock Rendez-Vous. It would be replaced by José Pedro Moura, until then in Pop Dell'Arte, and that it would debut like bassist of the band in a concert in Aveiro.
But before, in May, in a year in which live performances were rare, Mao Morta in a crowded Cinema Alvalade, make another great concert in Lisbon, in the first part of the Swiss Young Gods, where they present the fullness of Felt Hearts and Featured the live debut of Antonio Rafael on the keys.
António Rafael had already participated in the recordings of the disc, as a guest musician, but with this concert it became official his entrance in the group. Corações Felpudos was to be released only in September 1990 through the brand Fungui, the bags and wallets factory of Vítor Silva, 'manager' of the band since the days of Malucos da Pátria.
RUT - Radio Tejo University elected in February 1987 the Mao Morta, as "the best national band without registration on vinyl", with the offer of professional studio time for the recording of two tracks, which would be released in August , Along with 4 other songs recorded in K7 format by Malucos da Pátria. In November, they premiere live on television, in the Fisga youth program, broadcast on Channel 1 of RTP - Radiotelevisão Portuguesa.
At the end of 1990 they are in studio to record what would be their 3rd album: O.D., Queen of Rock & Crawl. The independent publisher Área Total, Guarda, had shown interest in editing Felt Hearts, but having no financial means to pay its cost, it convinced the band to edit a new record, recorded in a cheaper studio. And in January 1991, while the 1990 balance sheets of the cultural weekly Se7e and the Public General newspaper included Felt Hearts as one of the best albums of the year, Dead Hands had a new album ready.
Its edition was scheduled for February, when the band performed for two sold out concerts in the new Lisbon room Johnny Guitar, but due to several delays in the making of the covers, which eventually came out with adulterated colors and the labels of the vinyl ring for paste , Its edition would only happen in June, in a concert in Covilhã, in the discotheque Fábrica.
This would also be Ze's last concert of the Eclipses with the band, since he was leaving for Santa Bárbara, USA, the first stage of a career as a Portuguese reader and cultural attaché that would take him to Santiago de Chile, in the Chile, Fez in Morocco, and Paris in France.
Two days earlier, at a concert in Santo Tirso, Sapo, previously the guitarist of Pop Dell'Arte, had been released, which would replace him on guitar.
1991 had a lot more concerts than the previous year, although without reaching the number that the band had habituated until 1989, but mainly returned to be media interest by the work of the group, with the newspaper Blitz giving cover to the Hand Dead in February , On the occasion of the postponed edition of OD, Queen of Rock & Crawl, and Se7E to do the same in June, such as the regional weekly Minho.
In turn, in December, in its annual balance sheet, the Public newspaper includes O.D., Queen of the Rock & Crawl in its list of the ten best editions of the year.
Nevertheless, with the problems that occurred in the editions of Felting Hearts and OD, Queen of Rock & Crawl and with a new rare of concerts, the morale of the band was in the tracks - in 1992 they made a single concert in April in First part of the British Jesus & Mary Chain, at the Carlos Lopes Pavilion in Lisbon, and even the one with a bitter taste with José Pedro Moura - held back by a police raid in the neighborhood of Casal Ventoso, where his dependence on heroin forced him to move - has to be replaced at the last minute by Antonio Rafael ...
Facing the inertia that was installed, Adolfo Luxúria Canibal convinces Vítor Silva to bet on a new disc and in May the Dead Hand enter again in recordings. They choose the best Portuguese studio of the time, the Angel, where they stay until July and where they meet the producer and sound technician José Fortes, with whom they come into perfect harmony.
Despite the absence of José Pedro Moura, who appears a single day in the studio, the band gains confidence and surrenders heart and soul to the production of what would become his most celebrated album: Mutantes S.21.
Edited in early December, again by the brand Fungui, the disc, which is a backstage tour of nine cities, is still in time to be counted in the annual press reports, being "the best national record of the year" for the Diário de Notícias And included in the list of the best ten of the year of Público and Se7e, while the group is cover of Blitz and Se7e.
The Pop-Off youth culture magazine, broadcast by RTP2, featured weekly video clips by independent bands, and once again, as happened with the edition of Felt Hearts and OD, Queen of Rock & Crawl, invites the Dead Hand to make a video of Mutants S.21.
The chosen theme is Budapest and to realize it was highlighted Nuno Tudela, with whom from that the group maintains a relation of lasting complicity.
The Budapest clip turns out to be the most sought after on another daily program on public television channel 1, Vira o Vídeo, where it stays for weeks on top of its Top Video, dragging with it an unexpected radio airplay that would do with That on February 11, 1993 Mutantes S.21 entered the 28th place of the National Top of Sales. Still this month the Mao Morta make the cover of Académica magazine.
MAO MORTA TMN live foto Rui Leal
The success of Budapest and Mutantes S.21 could not fail to be reflected in the request for concerts, especially as the group contracted with a new entertainment agency (by Mario Dimas, an experienced agent), and 1993 is a year of touring Triumphant, with several mythical performances.
Beginning in March, with the first parts of the Tubes, the Carlos Lopes Pavilion in Lisbon and the Coliseu do Porto, the tour of Mutantes S.21 also leads the Dead Hand, as heads of posters, to Queima das Fitas of the University of Porto Or the Burial Week of the University of Aveiro, where the debauchery on stage is worth an interdiction of the academy for several years.
Other concerts of this year would be recorded in memory, as in March the clashes that provoked with the police in Mirandela or in June the invasion of the stage by a fan with naked breasts in a crowded Incredible Almadense, in Almada, but none is approaching that in May Starred in the Teatro-Circo, in Braga.
The assistance, in a more than exhausted room, surrendered to the group and it was as if levitating, completely unconscious of its acts, in a collective hysteria of difficult explanation, only to land in the end, in a Theater-Circus destroyed, that almost the only ones Centennial walls resisted.
In the middle there had been everything from dives to the crowd to an attempt at oral sex with Adolfo Luxúria Canibal by a more uncontrolled fan.
This concert had as a pretext the launch of a special edition of Mutantes S.21, with a book of cartoons to illustrate the diverse subjects of the disc, in a kind of farewell to the old vinyl: Mutantes S.21 was also the first edition In the new CD media.
The album also had a nomination for the Golden Se7e of 1993 in the category "best record" (the Golden Se7e was a prestigious annual award instituted by the weekly Se7e, which rewarded the various manifestations within the entertainment area - music, theater, Cinema - that had most distinguished themselves in the year), and in November it would be included in the selection The Best Discs of Portuguese Music, the first balance sheet on the Portuguese musical edition, organized by Diário de Notícias.
Still in November they perform with the British Inspiral Carpets, in the Great Nave of the Exhibition Park in Braga, in the presentation of the second volume of the series À Sombra de Deus, whose idea of a portrait of the state of creativity of Bra- carian music had been taken up again by Miguel Pedro, still always with the sponsorship of the local authority, and give the first interview for a foreign television, in the case to Lemon TV, of Scotland.
But before that they had already aroused the interest of the multinational BMG: its managers were present in Portugal Ao Vivo, a show that in July filled the Estádio de Alvalade with the live presentation of the main names that dominated the Portuguese top of disc sold and in whose Giant screens, in the intervals of performances, passed the music videos made by the television program Pop-Off, and had been very impressed to see that huge crowd chant Budapest every time the clip passed on the screen.
Immediately they contacted the group and at the end of the month the Dead Hand signed with BMG a contract for a disc, at the option of the band that did not want to compromise any longer, entering in December in studio for the recording of the fifth disc.
The Blitz, with the disappearance of the weekly Se7e, decides to institute for music an award that would occupy the space left vacant by the Golden Se7e, and launches the Blitz Music Awards. In March 1995 the Dead Hand are nominated in the categories "national group of the year" and "best male national singer", through Adolfo Luxúria Canibal.
1995 was again a year full of concerts, with the Dead Hands in May to be headlines in the Academic Weeks of the Polytechnic Institute of Leiria and the Polytechnic Institute of Bragança, to participate for the first time in the biggest Portuguese student event, Queima das Fitas Of the University of Coimbra, where they share the stage with the English The Fall, and in June to integrate the alignment of their first summer festival, the Imperial Live in Lisbon.
The band receives from the director Jorge Silva Melo an invitation, on behalf of the Cultural Center of Belém (CCB), to play poems of the late German playwright Heiner Müller, about the posthumous presentation of the play Germania 3.
The band, with the collaboration of the costume designer Ana Rita and the director Mariana Otero, transforms the invitation into the design of a multimedia show, Müller at the Hotel Hessischer Hof, which premiered in January 1997 in an exhausted and euphoric CCB.
The show has two more sold-out dates in the small room of the Centro Cultural de Belém and three others, always sold out, at the Garcia de Resende Theater in Évora, at the Teatro-Circo in Braga and at the Gil Vicente Theater in Coimbra. The recording of the premiere show would still be released on disc in May, with direct entry to the 20th place of Top National Sales, where it stayed for four weeks, and on video in February 1998.
In May 1997, they won a Blitz Music Prize - 1996 in the category of "best video clip" - the only year in which this category existed - with the Chabala video, performed in May of the previous year by Nuno Tudela to accompany Edition of the homonymous single by BMG. In June, Adolfo Luxúria Canibal receives the "A Nossa Terra" regional award in the "music" category, in its first edition.
Live, also highlights the participation in the 5th international festival of Paredes de Coura, which ended, acting after the Rollins Band Americans. 1997 would end with the inclusion of Müller in the Hotel Hessischer Hof in the best lists of the year of several publications, being "2º best national disc of the year" for the weekly Expresso and "5º best national disc of the year" for the newspaper Diário de News.
In March of 1998 through Adolfo Luxúria Canibal, they are nominated for a Blitz Music Award - 1997, in the category "best male national singer".
The following month they cover the weeklies Blitz and X-Ray and edit Long Time ago that In this Latrine the Air Became Irresistible, a conceptual work based on the artistic-political theories of the Situationist International, that has direct entrance to the 12th place of the Top National Sales.
In the tour that followed, in May they run the student events.
They would also perform at the Dive in the Future festival in August at the Abel Pereira da Fonseca Warehouses, held at Expo 98, the Lisbon World Exhibition, together with the Americans Blonde Redhead and Unwound, in a selection of Arto Lindsay, and at the Reception at Caloiro of the Higher Institute of Engineering of Lisbon, in October.
Still in 1998, during May, the Dead Hand had 24 hours of radio broadcast dedicated to the group, in the RUM - Radio University of Minho, in an event entitled 24 Horas du Mano Morta, are highlighted in the report that the French magazine L ' Express makes about Lisbon and some of his videos, as well as an interview with Adolfo Luxúria Canibal, are broadcast by the Brazilian television station TV Globo.
In July, FNAC published the book The Best Discs of Portuguese Popular Music (1960-1997), which includes the albums Still Life and Mutants S.21, this being included in October in the selection of Great Albums of the weekly X-ray .
Also in December of 1998 are reedited in CD the first three albums of the group, Dead Hand, Hearts Felt and O.D., Queen of the Rock & Crawl.
The following month, Mao Morta filled the Coliseum dos Recreios, Lisbon's mythical theater, closing the presentation of A Long Time ago that In this Latrine the Air became unbreakable with a dazzling concert, where they resort to video manipulation to build on stage The media mystification that the album was about.
In addition to the January edition of the Xutos & Pontapés - XX Anos XX Bandas - award, platinum album in March, and in which the Dead Hand participate with a version of the theme Mother, the year 1999 was devoted to shows , With the group again recording their record of annual concerts, most notably their participation in the Burial Week at the University of Aveiro, a return to the academy after they were banned in 1993, and at various summer festivals, such as Carviçais Rock in Torre de Moncorvo, Cellos Rock in Barcelos, Rock Feira in Santa Maria da Feira and Noites Ritual Rock in Oporto.
MAO MORTA CONCERTO RIVOLI PORTO 1988
But the shows still take the group out of the country, with concerts in Paris (France), where in June the Dead Hands are headlines in the show PluxshshshFeira - Musiques Nouvelles du Portugal, and in Olmo and Arezzo (Italy), where in July perform a fantastic performance at the biggest Italian festival, the Arezzo Wave Love Festival.
The year ends with a memorable concert in Lisbon, Lux, the new cult area of the capital, which is completely sold out to celebrate the band's 15th anniversary.
The transition to the new millennium also brings changes in the formation of the band: José Pedro Moura makes his last concert with the Dead Hands in June 2000 in Braga, a show integrated in the festivities of the 2000 years of the city, because, to the general amazement , When the Dead Hand ascend to the stage of the 8th international festival of Paredes de Coura in August, is Gonçalo Budda, from the bracarense group Big Fat Mamma, who takes his place ... José Pedro Moura is replaced by Marta Abreu, previously in the female group Of Coimbra Voodoo Dolls.
Marta Abreu participates in the recording sessions of the album that the Dead Hand have been working since April in the studio of the Escola de Jazz do Porto, and meanwhile are taking place at the AreaMaster in Vigo, Spain.
His live debut with the band takes place only in November, in his hometown, at the Festival of Cans of the University of Coimbra, but it would be just another concert with the group - at the Reception to Caloiros of the University of Beira Interior, in the Covilhã - because shortly afterwards, she vacated the place for Joana Longobardi, who had previously replaced her in the Voodoo Dolls, and which premiered with Mano Morta at the New Year concert in Braga.
With the spring edition of Wrecks the Dead Hand are awarded the contract of two albums signed with NorteSul and Adolfo Luxúria Canibal, Miguel Pedro and António Rafael decide to create their own record label.
Although the purpose was not to edit Dead Hand, but rather the active intervention in the Portuguese publishing market by the availability of names that are not normally signed by the major publishers, Cobra's first artifact, released in May 2003, is Carícias Malícias, a live record Of touring by small spaces that the Dead Hand had assembled, with a profuse selection of photographs taken by the fans to witness the enthusiasm that surrounded her.
The desire to share with the fans would still make the video of promotion to the disc was composed only with images captured by them in the most diverse concerts of the tour.
In 2003, the Dead Hand returned to the big concerts.
Nus was edited by Cobra in April 2004, after its edition was removed from the Zona Music publisher, due to disagreements regarding compliance with the agreement, and to have been rejected by the publishers Música Alternativa, EMI and Universal on the grounds that it would not be Sufficiently commercial.
The album, after an initial distribution by the kiosks with the weekly Blitz, quickly sold out, is distributed in May by record stores and proves to be ironically the most successful record of the group, having in a few weeks reached the equivalent number of sales (A certification that is not officially attributed to him because the Cobra label is not part of the Portuguese Phonographic Association - for the same reason, his sales are not counted in the Top Sales Officer).
The album is a trip for the memory of a generation, the "lyrical generation bracarense" as the Dead Hand identify it, with its utopias of freedom and revolution and its descent into the hells of drugs, prison and death, and begins With the theme Gumes, an epic of 22 minutes that works as distributor of the remaining themes. Its presentation is made in April in an exhausted Auditorium of the Palace of Exhibitions, in Braga.
Rock in Rio
In April is published the book Narradores da Decadência, the first biography of the Dead Hand , where the journalist Vítor Junqueira approaches the band's career. The third volume of the series "À Sombra de Deus" ("The Sombra de Deus"), again collected by Miguel Pedro and edited by the autarchy, is released. The Dead Hand includes the theme Sobe, Querida, Desce.
In October, they began a new round of small spaces, similar to what they had done with the Malice Caresses Tour, which this time called Autumn Sessions. Following are the Winter Sessions, which began in January 2005, which takes the Nus presentation shows to various theaters and auditoriums throughout Portugal.
In the first quarter of 2005, they dedicate themselves to the Winter Sessions, taking the Nus disc, and an organized and fan-mounted photographic exhibition, to sites such as the Gil Vicente Theater in Coimbra, Lisbon Forum, Vila Real Theater, Casa das Artes, in Arcos de Valdevez, the Cine-Teatro Paraíso in Tomar, Cine-Teatro São João in Palmela, or the Castle of Sines, closing with an unforgettable concert exhausted in the Aula Magna in Lisbon.
The two Lisbon concerts are recorded and filmed for a later DVD edition, which has not yet happened.
After the Winter Sessions, the Dead Hand is dedicated to the preparation of a show based on the book The Songs of Maldoror, written by Isidore Ducasse under the pseudonym of The Count of Lautréamont.
It does not prevent the recording of 4 songs for Henrique Amaro's 3 Pistas radio program in April (two of which were released on the disc in the following month in a collection with the best songs presented), broadcast by Antena 3, The 1st Festival of the Serra da Estrela, or at the end of the year organize another mini tour through small spaces, now in Galicia, called Xira Galega, which passes through A Coruña, Santiago de Compostela and Vigo.
Adolfo Luxúria Canibal intensifies its surroundings in Mécanosphère and creates Shards with António Rafael, a spoken word show that presents throughout the country and still in Budapest, Hungary (and later edits in disc in 2006);
Antonio Rafael, in addition to Shards, composes for several plays; Miguel Pedro founded new groups, such as Jazz Iguanas with António Rafael, a trio of improvised electronics (with a disc released in 2006), or Mundo Cão, a classic rock quintet with Vasco Vaz and also the collaboration in the lyrics of Adolfo Luxúria Canibal First album released in 2007).
After an incursion to Paris, where in March of 2007 they act like heads of posters in the festival Tarola Rock, the Dead Hand finally inaugurate Maldoror in May of 2007.
The premiere is in Braga, in the new Theatro Circo. The show, with staging by António Durães, scenography by Pedro Tudela, costumes by Cláudia Ribeiro, video images by Nuno Tudela and light drawing by Manuel Antunes. Is a success, with enthusiastic reviews.
They participated in the 2007 Paredes de Coura Festival, where they were the main band of the day, and where, at the end of the performance, Adolfo Luxúria Canibal announces the end of the group, after 23 years of career, in a "farewell to rock 'n roll ", Which turned out to be a joke of the singer.
In October, a tribute album to Hand Morta - Tributo a Mano Morta - And Se Later ... was published by the independent publisher Raging Planet, with the participation of some of the main names of the new generation of Portuguese musicians from the alternative area.
In the first half of 2008 they take the show Maldoror on a tour around the country. It ends in May at Theatro Circo de Braga where it had premiered a year earlier.
The double disc Maldoror is edited. In July they make a concert film integrated in the 16th Short of Vila do Conde - International Film Festival, in which they play, and play live accompanying the projection, the films A Study In Choreography For Camera, At Land, Meshes Of The Afternoon and Ritual In Transfigured Time by the American director Maya Deren.
The recording of this concert is edited in July 2009, with the title Rituals Transfigured, edition that besides the CD with the soundtracks includes a DVD with the short films sonorized.
The recording of the debut concert is released on DVD by Cobra Records which also includes an extra documentary on the tour.
In August 2008 they played for the first time in the Azores, in the city of Horta (Faial) and participated, in a partnership with José Mário Branco, for the movement of solidarity with mental illness, composing the theme Madness, published in November of that year.
They begin a long tour through auditoriums, called Ventos Animais, where they revisit all of their discography, namely themes not long played live, which would last until August 2009, with tickets in March at Teatro Sá da Bandeira in Oporto and April by the Cinema São Jorge, in Lisbon, completely exhausted, coming to an end in apotheosis at the Noites Ritual festival in Porto.
In November 2009 they became the first Portuguese group with an application for iPod Touch and iPhone, allowing its fans to remix an expressly composed theme for this purpose.
In April of 2010 is published Nightmare in Plush, whose composition was inspired in the book The Atrocity Exhibition, of the English writer J.G. Ballard.
The album was performed in Lisbon at a crowded Coliseu dos Recreios, and the following tour took the group to student parties and some of the biggest summer festivals, such as Alive in Algés or the 18th international festival of Paredes Of Coura, coming to an end with two stunning performances at Theatro Circo in Braga and the new Hard Club in Oporto.
In 2011 they began a work with various populations of the city and municipality of Guimarães, within the framework of the European Capital of Culture - Guimarães 2012, with a view to presenting a Community show in December 2012, at the end of the event.
In February they perform at the Rivoli Theater in Porto, at the Rivoli Nights, where they appear incarnate mythical figures from the horror movies, such as Freddy Krueger or Hannibal the Canibal, in honor of Fantasporto, whose 2011 edition includes the Rivoli Nights .
During October they make a tour called Pelux In Motion Tour, started in Lisbon, in the TMN Ao Vivo room, and finished in Ílhavo, in the Cultural Center.
They participate with the theme "See the Sea" in the collection À Sombra de Deus IV - Braga 2012 and with the theme Brother of Solitude in the commemorative collection of the 15 years of the Indiegente program of radio Antena 3, Indiegente 15 Anos.
In May, the documentary Fado Canibal, made by Timóteo Azevedo on Adolfo Luxúria Canibal, and the CAAA - Center for Art and Architecture Affairs, in Guimarães, will be premiered at the Ilídio Pinho Auditorium of the Universidade Católica Portuguesa, in Porto. Festival FrameArt integrated in the European Capital of Culture - Guimarães 2012, Adolfo Luxúria Canibal and Miguel Pedro, in collaboration with the digital artist João Martinho Moura, present the neuro-audio-visual performance Neuronal Camera.
Finally, on December 21, with a live broadcast by RTP2 and RTPi, it will be presented at the Multiusos de Guimarães, completely crowded for the closing ceremony of the European Capital of Culture - Guimarães 2012, the musical. The previous day had its premiere, also with sold out, for the population of the city.
Composed by 21 songs by Mano Morta, José Mário Branco, Fernando Lapa, Amélia Muge and Pacman (Da Weasel), So Estamos ... is a collective creation, with staging by António Durães, who, in addition to its creators, Brings to the scene more than 600 participants, among the inhabitants of the municipality of Guimarães, the Orquestra Filarmonia das Beiras, under the direction of the English conductor Peter Bergamin, the Choir of Letters of the University of Porto, Orfeão Coelima or the choir group Otra Voz.
In 2013 they travel to Brazil where they participate in the São João Stage of the 9th Cultural Revolution of São Paulo in the early hours of 18 to 19 May.
They also played at Primavera Sound do Porto, which was unanimously considered one of the best performances of the entire festival.
In April, Adolfo Luxúria Canibal and Antonio Rafael debuted in New York, performing live in the Rooster Gallery of the Lower East Side, the soundtrack they composed for the Wall of Pleasure installation by the artist Tiago Estrada.
In September, the site Meifilmado at Adelina Caravana containing the audio and video recording, under the responsibility of Zé Nando Pimenta and Alexandre Azinheira, was held in July 2010 at the Adelina Caravana Auditorium of the Calouste Gulbenkian Conservatory in Braga for the Themes Speed Sizzling, Barcelona (I found it in the Plaza Real), Blood Knives, Passion Novels, The Left Breast of PR and Captain James.
The album For My Watch São Horas de Matar is edited in May 2014. It is expected to commemorate 30 years of career and whose title was taken from a poem by the Portuguese surrealist poet António José Forte.
The video clip of the theme Horas de Matar, made by Rodrigo Areias, became viral, generating more than 33,000 views in just 24 hours. The enormous controversy that provoked in the social networks, with the band and Adolfo Luxúria Canibal to be accused of antidemocrats and to foment the violence, it surpassed to the pages of the press and the newspaper Público gave prominence of front page in its edition of 22 of May.
In July 2014, the Chão musical starring 70 women from Paredes de Coura parishes and staged by João Pedro Vaz, who Adolfo Luxúria Canibal, Miguel Pedro and António Rafael created for the 10 .community of the theater company Comédias do Minho.
The musical would also have another performance in Paredes de Coura, with the room again exhausted, before leaving for a very applauded micro tour that passed through the São João National Theater in Porto and the São Luiz Theater in Lisbon before returning again To the Cultural Center of Paredes de Coura, already in August, integrated in the pre-opening of the 22nd Festival of Paredes de Coura.
They participate in the third volume of the trilogy T (h) ree, a set of collections where Portuguese artists collaborate with Asian artists. The album contains the theme One Last Kiss, the result of the cooperation of the Dead Hand with South Korean Soo Jung-Kae and the Japanese Sachiko Fukuoka.
It is released with the magazine Blitz Ventos Animals, a set of songs recorded live during the long tour with the same name that the band performed between 2008 and 2009.
In February of 2015 the concert of the 30th anniversary that takes place in the Lux, in Lisbon, is completely crowded to receive the band 15 years after there gave a memorable concert of 15 anniversary.
The Electronic Music Show, Second Hand, held in March by the German electro-acoustic musician Stephan Mathieu in the Chapter Room of the Monastery of Tibães, which used sounds and samplers extracted from the recorded work of the Dead Hand as exclusive material for sound manipulation. In April is published the book Adolfo Luxúria Canibal - Pirata Petulante by Daniel Catarino Lobo.
2016 begins with the publication by Abysmo of the book Press Review - The Dead Hand in Medieval Narrative (1985-2015), a luxurious hard cover volume that, from a set of newspaper clippings left over the last 30 years - more than 200 articles by more than 100 authors - including a photographic portfolio by José Pedro Santa-Bárbara and three leaflets with diverse memorabilia, traces a very peculiar portrait not only of the band but also of the musical panorama over the years, With its fashions, stages and publications, and of the country itself.
In April of this year they are invited by Theatro Circo to create a special show for the closing of the year celebrating their 100th anniversary. The Dead Hand perform with Remix Ensemble, directed by maestro Pedro Neves, for a contemporary approach of 14 themes of his repertoire, arranged and orchestrated by Telmo Marques.
The show was presented in Coimbra, in Lisbon, in the Aula Magna and in the Sala Suggia of the Casa da Música in Oporto. It is released on vinyl, by the independent publisher Garagem Records, the first studio recording of Mano Morta, previously only edited in K7 format (1987) and in 1998 as extra tracks, in the CD reissue of its first album.
Eu vi o concerto dos MAKE-UP! na primeira fila .... mesmo em frente ao palco, junto com o Adolfo Luxuria Canibal (e a esposa) e o Nuno Calado, duas das pessoas mais conhecidas em Portugal no meio musical.
O Nuno por ser um dos melhores radialistas Portugueses...apresenta o som mais alternativo e atual da rádio, na Antena 3, de segunda a quinta-feira, entre as 23h e as 24h.
O seu programa o Indiegente, já tem mais de 15 anos.
Adolfo Luxúria Canibal lider da banda Portuguesa,de Pós-punk, Death rock, Noise rock, Rock alternativo, Mao Morta (nasceu em Luanda, 25 de Dezembro de 1959), de nome de baptismo Adolfo Augusto Martins da Cruz Morais de Macedo, é advogado, músico, e poeta português.
Em Outubro de 1984, Joaquim Pinto assiste em Berlim a uma actuação dos Swans. No final do concerto encontra Harry Crosby, baixista da banda nova-iorquina, que lhe diz que ele tem cara de baixista. Pinto regressa a Braga, compra um baixo e, em Novembro desse ano, forma os Mão Morta, com Miguel Pedro na guitarra e Adolfo Luxúria Canibal na voz.
Os Mão Morta estreiam-se ao vivo, em Janeiro de 1985, no Porto, no Orfeão da Foz.
Já tocaram pelo mundo inteiro e fizeram a primeira parte de grandes bandas.... O ano de 1987 ficou marcado pela devastação do Cinema Império, em Lisboa, quando os Mão Morta, integrados no cartaz das Jornadas do Império, juntamente com os americanos Gun Club.
Aquando do lançamento do LP, Mao Morta, um novo jornal de música, o BLITZ, posicionava-se mais atento à cena independente e em Outubro de 1988 fizeram a primeira parte dos britânicos Wire, no Pavilhão Infante de Sagres, no Porto,
Em Dezembro fazem as duas primeiras partes, no Pavilhão Carlos Lopes em Lisboa e no Teatro Rivoli no Porto, do australiano Nick Cave com os seus Bad Seeds.