Rosa Pano

by Luis Pestana

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Richard
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Richard Stunningly beautiful album. Eclectic, surprising, and challenging without ever being overly difficult to grasp. Moments sound like Arvo Pärt meets Lorenzo Senni. My favorite release in recent memory. Favorite track: Asa Machina.
deirdrebeck
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deirdrebeck When I’m in a MOOD this album feels like I’m participating in a ritual and I love it. It is transformative.
Corey Householder
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Corey Householder One of my favorite releases this year, hands down. Jaw-droppingly gorgeous and intense experience that elevates the senses to a higher state of being. So unified in its execution it's difficult to pick a favorite track.
Mike DeRoitr
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Mike DeRoitr I'm getting a very "Orange Milk" feeling listening to this excerpt...
Fabio Viola
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Fabio Viola Deep, intense release that’s full of layers and gorgeous sounds.
www.facebook.com/112522530436444/posts/208913364130693/?d=n Favorite track: Rosa Pano.
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1.
Oneia 03:11
2.
Sangra 04:07
3.
Arde Asa 03:29
4.
5.
6.
Asa Machina 04:13
7.
Luna 01:41
8.
Rosa Pano 09:17

about

Review from 'a closer listen' ~

"Luis Pestana‘s debut is unlike anything else on Orange Milk Records; in fact, it’s like little else on the market. The set unfolds like a radio play, embracing multiple genres and instruments: choirs and church bells, woodwinds and hurdy-gurdy. The Portuguese artist calls Rosa Pano “his own folklore, inspired by his mother’s lullabies,” although the timbres are more likely to wake a listener up than to lull one to sleep. There are no track breaks, providing a seamless experience; one is drawn into the dream. We would not be surprised to see a troupe adopt the extended piece for an exercise in creative choreography.

“Oneia” begins as a slow march with church bells, a female voice and a sense of procession. At the end of the track, a clock is wound and allowed to tick; a baby begins to cry. Then chimes ring out and the tape enters a new phase, a fairy-tale world populated by buzzing sprites and synthesized surges that seem more Subtext than Orange Milk. Is the baby sleeping yet? As of Track 3, she is not. Multiple voices converge, keeping her awake and agitated. A short, solid drone leads to the busiest piece, “Au Romper Da Bela Aurora” (“A Break from the Beautiful Dawn”), where zither lays the foundation for an architecture of operatic voices.

The electronic tones return for the end run, percussive in nature, implying a flight through the forest back to safer ground. At the end of “Asa Machina,” the machines break down with a stutter, revealing a persistent choir. A lone flute, possibly from Pan, leads to the nine-minute title track, in which a siren’s cry is answered by a chorus of wolves. As a final drone approaches, the fairy tales crash together on a single shore. Once again, church bells ring, the mysterious story returning to the beginning: cycling, although changed, like a dreamer nourished by fantastic visions. Are we dancing or are we dreaming? Either way, we’ve grown enchanted by Pestana’s folkloric world."

(Richard Allen)

acloserlisten.com/2020/11/22/luis-pestana-rosa-pano/

credits

released November 27, 2020

Celeste (vocals) Elizabete Francisca (vocals)
Alibori H. (woodwinds) Bruno Pereira (zither)
Janita Salomé (arrangement and vocals on 5)
Vitorino (vocals on 5) Carlos Guerreiro (hurdy-gurdy on 5)
Contains samples from Julia Wolfe, Warner Jepson,
José Pinhal and Krzysztof Komeda

Written and produced by Luis Pestana
Mastered by James Plotkin
Artwork by Mariusz Lewandowski
Layout by Keith Rankin and Adrienn Császár

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