Indelibly and courageously linked to various movements in this city, and paving the way for them to leave the country, Tiago Miranda has been regarded in recent times primarily as a DJ and careful producer of tracks for the dance floor, somewhere between the expansiveness of the cosmos and the pulse of this land. This could lead us to forget how closely connected he is to one or more lives in this house.
A fearless, multifaceted figure who has nurtured cult and admiration for over two decades, he was, among many other adventures, at the genesis of Loosers and Gala Drop, passed through Pop Dell’Arte, embodied Tnt Subhead and Sea Power & Change, has maintained, with Alcides, the entity Slight Delay, and founded labels such as Interzona and Ruby Red.
In this new form, it is important to think of the latter’s work as an imaginary link to what animates ᴘɪɢxᴛᴀʀ. Emerging at the epicenter of free music, which between 2001 and 2009 was buzzing with unprecedented intensity, amid countless releases on CDr, cassette, vinyl in more or less limited formats, at the speed of that urgency, and which saw Ruby Red release artists such as Fish & Sheep, Tropa Macaca, Valerio Cosi, Charles Cohen, and Ed Wilcox, or, of course, Loosers themselves at a time of infinite creativity.
Without this momentum ever crystallizing in time, without a properly told story—perhaps the recent release of David Keenan’s book, which collects some of his enlightened writing for the Volcanic Tongue store, will bring back some memories—because all of this existence continues with varying degrees of focus to this day, we can take the universe, still sparse, of ᴘɪɢxᴛᴀʀ as spiritually aligned with this chain of events.
Noise is no stranger to Tiago, so we can go back a decade to the release of Emotional Poverty on Márcio Matos’ dormant (?) Noisendo label to find him there, but this is a whole other song, which is not exhausted in that primer but lives on an equally lived quest. Following the path opened by something like SPK’s ‘At the Crypt’ and some Sterile Record releases for metallic percussion crutches, psychedelic dub strategies and ragga electronics in overload in contact with very very bastardized forms of rock and lo-fi devotion to kösmiche with material applied in the above period by noiseniks and explorers of the Michigan-Ohio axis—the extended Wolf Eyes and Emeralds family revisited in the Hanson and American Tapes catalogs and trading cards with Tusco/Embassy and Wagon.
On the very recent cassette of the same name, we go from short, incisive tracks drenched in noise to the flowing fluorescent synthesizer of the final track, and it’s all part of the same vision. BS

Anastasia Freygang experiments with language, organizing events that work with energetic presences, rhythms, and social sounds. She studied writing and movement.
anastasia freygang someday, rolling beat driven allegations, post-literate incantations and resounding assertions
– they still start in the body that travelled and so do their voices yet they’ve morphed.
they echo and lurk having bounced off corners and resisted the square using text to speech engines and experiments with intontations.
often recaptured they are vocal collisions today, suny fum was buny.
it’s improvised musing and polyrhythms with timelines that crash streetscenes and hearsay via fieldrecordings. and things got shouty with seek finder and impromptu merger. AF

Orlando Rodríguez, tcp Vat Lok founded the experimental music label ‘out of order’ – through and from it, he carries out research, curation and production work in the underground music spectrum from the oddly fertile Lisbon headquarters. Under the ‘Vat Lok’ alias, his musical selection runs parallel to the label’s personality, untethered from genres, favourable to ‘machines that are out of order, broken or not working properly’.