Hidden Horse ⟡ Clothilde ⟡ Candy Diaz & Kyron

Galeria Zé do Bois

Hidden Horse

Hidden Horse’s music has a certain post-apocalyptic feel to it. Perhaps because of the colors that the music enunciates, or the feeling that one is living in some reality filmed on CCTV. Despite this, it is difficult to say that the music of the duo formed by João Kyron (keys/electronics) and Tony Watts (drums) is pessimistic or a reflection of some announced cataclysm. No, and maybe that’s the difference of creating hauntology music in a city like Lisbon: the feeling, the ghosts, are there, but the pressure of a gray sky falling on us is not; there is still tension, pressure, but there is more a feeling of ruin than everything collapsing. The difference is noticeable. It’s music that doesn’t weigh on your shoulders or your head. It makes you dance.

After “Opal” (2022), Hidden Horse present at ZDB their new work, “Incorporeal”. Launch day and the realization of more than a year of work, in which Kyron and Watts realized how they could bring the live dynamics, when they interpreted the themes of “Opal” in concerts, to the studio. “Incorporeal” feels freer, the sound breathes, the influences of the past – krautrock and industrial – are now open assimilations, less attached to form and more willing to create sensations. The immateriality alluded to in the title is not only about the fears we associate with the world of hauntology, the future we can never realize, but also about the sensations that Hidden Horse’s music makes us feel in the present: wanting to take off from first impressions, going to other flights.

Live they become a trio, with Ana Farinha (Candy Diaz) helping to transform the precise studio sound into a very organic event, which allows Kyron and Watts to also let go and go to places close to the krautrock cosmos. AS


In any conversation with Clothilde about her music, the expression “my machines” recurs. It refers to the machinery that Zé Diogo, her partner, builds from scratch for Clothilde to create her unique ambiences. In Clothilde’s voice, “my machines” gain a new meaning, the tone, the pauses, describe a unique empathy with them, at the same time there is the feeling that Clothilde and they – the machines – are a unique being that, when in operation, are dominated by a certain unpredictability of the moment. They both know how and where to go, but the ways and colors to get there always seem to be unknown. And it is in this void of response that Clothilde and her modeling machines perfect the primitive side of exploration and creation in electronics, working the sensitivity and curiosity of the listener. “Twitcher” (Labareda, 2018) and “Os Princípios do Novo Homem” (Holuzam, 2021) offer coordinates for the intensity of Clothilde’s search for reality: pure, organic and clear sound.


Faithful to the designs of psychedelia, CANDY DIAZ & KYRON envision a world without border restrictions, without time or space, thus traveling in very different latitudes. Excursions around the krautrock, wave and post-punk, with redoubled attention on the Africa-Brazil axis, Latin discharges and wanderings in the East, to thus observe a whole with excellent knowledge of the parts.
Directly from the dreamlike glades, one can also expect walks through library music, contemporary electronics and spoken word games. The freedom of musical choice combined with the freedom of the dancing bodies make this performance a vibrant and zigzagging journey.

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