Niecy Blues ⟡ Mafalda BS

Galeria Zé dos Bois

Niecy Blues
Mafalda BS

Niecy Blues

Which reality is this? What is it made of? And how can we get out (escape?) from it? On Exit Simulation, her debut album, Niecy Blues (responsible for the writing, production, and arrangements of the project – the exception being “The Architect”, produced by T. Morris Wilson) presents her set of whispered/filtered answers to these questions, creating a sonic tapestry, which lies between ambient, r&b and gospel (and a considerable dose of experimentation in the mix), to make you feel something (for some, that’s a lot) and deal with feelings that were well buried and that she can only now see from the surface.

With a strong identity that puts her as close to a modern approach to trip-hop as she is to the particular expressions of visionaries of the now such as Kelela or Solange (like them, she has vocals, melodies, and harmonies with elegance to give and sell), the American artist called on a long-time collaborator for this record, Khari Lucas (aka Contour), but also Mary Lattimore (harpist who shows her grace on “Exits”), KeiyaA (who lends her voice and plays saxophone on “Soma”, the only track with an extended band to imagine jazz with spirits inside), Durand Bernarr, Brian Foote, Zeroh and Qur’an Shaheed, names that are close, each in their own way, to the unique universe she has created.

After a youth with a strong presence of churches, cults, and religion, Blues slams the door on that past in this first full-length effort and surrenders to a spirituality that comes from a less oppressive unknown (and that transports her to a freer place). If you click play to listen to their songs and feel disorientated, don’t worry: in the end, everything will make sense (you just need to know where the exit is…). (Alexandre Ribeiro)

Mafalda BS

Mafalda Silva, born in Braga and living in Porto, is a young composer, producer, and singer-songwriter. Her relationship with music is rooted in the piano, an instrument she began studying at the age of 6 at the Braga Conservatory of Music. Although her relationship with classical piano and the academic stage has always been somewhat ambiguous, from an early age she had a special interest in composing, improvising, and approaching music more creatively.

At the age of 16, while studying composition, she began to explore music production and voice in parallel in a self-taught way. However, it was only after an academic experience in Rotterdam, where he began a degree in composition, which he abandoned after just over a year, that he truly fell in love with producing and began to approach composition in a less erudite way.

On this return home, where she explored music as she had never done before, the embryo of her first solo project, “Canto em Cantos”, was born.

The EP is the result of long months of exploration in the fields of production, composition, and lyrics, nothing more than a way of talking to herself, in a constant search for her musical language. In 2022 she was awarded a scholarship to study Studio Engineering at Arda Recorders studios in Porto, where she learned about recording, mixing, and mastering practices.

In recent years she has collaborated with artists and bands such as Ocenpsiea, Francisco Carneiro, Frank Lucas, Mazda Fields, gonsalocomc, Alcrud3, and other friends with whom she makes music regularly.

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