The Squid's Ear Magazine

Turbamulta (Raon / Sao / Ferreira / Martins / Aroso): Turbamulta (Clean Feed)

With orchestration of harp, daxophone, idiophones, piano, cello, guitar, percussion, sampling & electronics, the Portuguese quintet Turbamulta (roughly translates to "rowdy mob", though clearly a very sophisticated mob) was born from the band Powertrio of Eduardo Raon, Joana Sa and Luis Martins, expanded to blend compositional, EA and improv approaches into something unique and beautiful.

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product information:

UPC: 5609063004779

Label: Clean Feed
Catalog ID: CF477
Squidco Product Code: 25640

Format: CD
Condition: New
Released: 2018
Country: Portugal
Recorded at Estudios Namouche, in Lisbon, Portugal, by Joaquim Monte.


Eduardo Raon-harp, electronics, daxophone

Joana Sa-piano, idiophones

Luis Andre Ferreira-cello, electronics

Luis Jose Martins-classical guitar, electronics

Nuno Aroso-percussion, sampling

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Descriptions, Reviews, &c.

"Five musicians came together to create a place where new dynamics of performance and musical creation materialize - the Turbamulta (a Portuguese word we could translate as "rowdy mob"). Each instrument, an original, individual voice magnified by new sound production techniques, existing on the border between interpreter and composer, embodies both beyond the confines of formal contemporary classical music ensembles. Musical gestures recovered by listening to improvisation sessions lead to new sessions and new gestures, remaining constantly open - be it for the purpose of a recording or a live performance.

Open to new convergences, divergences, uproars and romanticisms, each musician wandering in their own thoughts until another one calls out, pulling them by the arm to come out to play, or at something else. If one can be made to feel a bit like Borges' Averróis, watching children playing in the yard while failing to understand what games they're playing at, it's because the union of this turbamulta develops forms of communication that are almost indiscernible (unlike the very well-defined "patterns of relationship" of improvised forms: reiteration, imitation and melodic transposition, or alternating between fixed and free moments), and the music they play is intense and bright, profoundly articulated, enigmatic and endlessly surprising.

This communication has to do with the fact that, in short, the group brings together two new interpreters to the preexisting trio of Eduardo Raon, Joana Sá and Luís Martins (Powertrio), whose granular and glistening clouds of sound the percussionist Nuno Aroso thickens and the cellist Luís André Ferreira makes long notes and lines stand out from. The symbiotic rapport between the quintet becomes quite clear, after the introduction, in the central section of (like a mast, an arm, a head) where the first cluster of bass notes on the piano leads to short and energetic sounds, and the second one leads to fine and delicate textures.

Listening more and more intently, one can sense other signs of what happens between them. That first movement leads to the sound of cow bells', which all of them play, then to Bartók pizzicatos on the guitar and the cello, to low-pitched attacks from the harp and the piano, finally rising to a series of inverted sounds - a similar mechanism appears during the metamorphosis at the center of in holes, when all the instruments become, for an elongated time, percussive. The romanticism of exagero minúsculo reoccurs on the first section of and they would stumble upon some figure, accompanied by echoes of the harp that progress until the end, in the background, as pulsating chords sounding off the guitar, at first, then the harp, and later the piano and the vibraphone. As if from the bottom of ocean, the other musicians join these distant pulses briefly, leading us to back away from the metaphor of the restless children and reminding us that music can be founded upon the spontaneous relations between mysterious beings of the abyss, whom we can admire without worrying ourselves with trying to fully understand."-Clean Feed

Artist Biographies

"Although he has a classical harp education, Eduardo Raon has always been unsatisfied with standing with both feet on the same recognizable ground. Contemporary, experimental, ethnic, noise, pop, retro, rock and electronic music are all part of a kaleidoscopic baggage brought by Eduardo Raon onstage. Either improvising, composing or interpreting and with a mixed attitude that oscillates between the visceral and the delicate/minute, his harp is squelched, stretched, melted, lit, consumed, blossomed, caressed.

He has frequently toured and recorded with I-Wolf, POWERTRIO, Maria João & Mário Laginha, Bypass, Ela Não É Francesa Ele Não É Espanhol, Hipnótica, O Espectáculo d'Ontem as well as solo. Besides Portugal he has performed in Germany, Austria, France, Slovenia, Serbia, Spain, Russia, Holland, Belgium and Macau (China).

As an interpreter he has premiered both solo and chamber works by Eurico Carrapatoso, Clotilde Rosa, Ivan Moody, João Lucas, Joana Sá, Daniel Schvetz, Eli Camargo, Sebastian Duh and Fernando Lobo.Raon regularly composes for Cinema, Animation, Theater, Dance e Fine Arts projects.In 2009 he was granted a grant by the Portuguese state for an international internship in Improvised Music/Neue Musik, working with Professor Paulo Álvares at the Hochschule für Musik Köln (GER).

More recently, he composed and performed live soundtracks at Slovene Kinoteka, for the following films:

- "L'Impossible" for Sylvain George's retrospective;
- a collection of Émile Cohl's animated films;
- "49 Flies" by Piérre Hebért;
- "Text of Light" by Stan Brakhage;
- "Die Puppe" by Ernst Lubitsch;
- "Metropolis" by Fritz Lang;
- "Enthusiasm - Symphony of the Donbass" by Dziga Vertov;

In late 2013, he made his solo debut with the album "The Drive For Impulsive Actions" released by the Lisboa based label SHHPUMA (powered by Clean Feed)."

-Eduardo Raon Website (

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"Born in Lisbon in 1979, pianist, composer and improviser Joana Sá works in the field of new music/contemporary classical music. She is currently enrolled in a doctoral program in music (performance) at the University of Aveiro, as an FCT (Fundação para Ciência e Tecnologia) fellow. She holds an undergraduate degree in piano, having studied under Caio Pagano and Paulo Álvares, in Lisbon, Paris, Castelo Branco and Köln. She received an INOV-ART grant in 2009 and, in 2010, was distinguished with a honourable mention from the Ernesto de Sousa Scholarship program.

Joana Sá is particularly interested in incorporating other means and artistic areas in her works. Her first solo work, through this looking glass, shot by filmmaker and cinematographer Daniel Costa Neves, was released as a dvd+cd by the German label blinker - Marke für Rezentes in 2011. Her current work, IN PRAISE OF DISORDER, integrating texts by Gonçalo M. Tavares as read by Rosinda Tavares, was just released by Shhpuma, an imprint of Clean Feed Records.

Joana Sá has performed in several festivals and as part of season programs of renowned institutions both in Portugal and abroad, such as Teatro Maria Matos, Gulbenkian Foundation, CCB, Casa da Música, Culturgest, Serralves, Kunst Station Sankt Peter (DE), Studium MusikFabrik (DE), Festival Música Viva (PT), Forum Neue Musik (DE), Ring Ring Festival (SER), Festival Jazz Cerkno (SL). She is one half of the duo of Almost a Song (with Luís José Martins), with whom she recorded the album Almost a Song, in 2013, and one third of POWERTRIO (with Luís José Martins and Eduardo Raon). She collaborates frequently with visual artist Rita Sá. Highlights of the collaboration between the two include installations at Gallery of Visual Arts, 255 Canal (New York) and Siggraph Asia (Yokohama). Joana Sá has made music for films, including Tabu, by Miguel Gomes, which was nominated for best music at the 2013 Sophia awards. She has collaborated with artists and projects in a number of musical genres (Deolinda, Simão Costa, Marco Franco, Nuno Aroso, Drumming GP and Peixe, among others).

As co-coordinator (with Luís José Martins) of the music department at CENTA, Centro de Estudos de Novas Tendências Artísticas, at Vila Velha de Ródão (2007/08), she worked with the community (‘Sons do Salgueiral’, ‘Concertos Improváveis’), as well as developing personal projects (‘50 anos - Cage, Concert for piano’ e ‘POWERTRIO - ensemble residente do CENTA’). In this condition, she took part in ‘rExistir’, a project with inmates from the Instituto Prisional de Castelo Branco and accompanied artistic residencies, seminars and concerts held at CENTA.

Joana Sá has recorded for radio stations such as Deutschland Funk and SWR2, in Germany, and Antena 2, in Portugal, and has released music through blinker, Shhpuma, Creative Sources and Centa.

Between 1993 and 2000 she played bass in Pinhead Society, a band with which she performed more than a hundred shows, including concerts at the main stages at festivals such as Sudoeste, Vilar de Mouros and Paredes de Coura as well as the Coliseu dos Recreios. With Pinhead Society she shared line-ups with bands such as Sonic Youth and Morphine and recorded for Música Alternativa and Bee Keeper."

-Joana Sa Website (

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"Luis André Ferreira (1964): Between 1988 and 1991 studied in Lisbon composition with Constança Capdeville. In 1994 Paulo Ferreira-Lopes moved to Paris. Between 1995 and 1997 studied in Paris composition with Emmanuel Nunes, Antoine Bonnet and Computer Music with Curtis Roads. In 1996 he received a Master in Composition at the University of Paris VIII under the advice of Horacio Vaggione. In 1996 further studies in composition with Karlheinz Stockhausen at the "Internationale Ferienkurse für Neue Musik", Darmstadt. Also in 1996, distinguished as Researcher with a scholarship of the French Government by the "Ministere de la Recherche" at the "Departement d'Esthétique et Technologies des Arts" of University of Paris VIII . In 1997, composition-prize at the exhibition "Documenta X" in Kassel, Germany. Founder and Director (between 1992/95) of the Electronic Music Studio C.C.I.M. Founder and Director (2000) of the Summer Workshops - olhAres de Outono at Univesity Catholic Porto. Since 1998, artist in residence and researcher at ZKM - Zentrum für Kunst und Medientechnologie - Karlsruhe /Germany. Since 2002, member from the European Parlament of Culture . In 2004 he received the Doctor degree from the University of Paris VIII. Since June 2004, Director from the Research Centre for Science and Technology in Art CITAR at Portuguese Catholic University. In 2004 his work was selected by the International Society for Contemporary Music to represent Portugal in the World Music Days 2004. Paulo Ferreira-Lopes works has been produced in international festivals - Musica STRASBOURG, Estoril Summer Festival, documenta X - Essen, Biennal S. Paulo, ZKM-Karlsruhe, World Music Day's Zürich, Stiftung Gulbenkian, Expo 98 Portugal , through important ensembles of the contemporary artistic scnene as AccrocheNote, OrchestrUtopica , Ensemble Modern Frankfurt, etc.."

-Portuguese Music Research & Information Center (

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"Luís José Martins (born March 5 , 1978) is a Portuguese musician.

He is guitarist of the group Deolinda.

He studied at the National Conservatory of Lisbon, in France and in Castelo Branco, at the School of Applied Arts where he graduated in Music. He taught classical guitar at several conservatories in the country.

As a musician, he was a founding member of the group " Bicho de 7 cabezas ", PowerTrio and Deolinda."

-Wikipedia (Translated by Google) (

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"A percussionist dedicated to contemporary music, Nuno Aroso was born in Porto in 1978.

Recognized as one of the most creative and active percussionists of his generation, Nuno Aroso solo activity has taken on a fundamental role in his artistic life. Strongly focused on the research of new techniques, renewed instrumental resources and scenic aspects inherent to percussion performance, Nuño Aroso has actively collaborated with numerous artists and composers from the most varied aesthetic fields and parts of the world, resulting in the growth of personal, idiosyncratic repertoire and contributing simultaneously to the development of the percussion literature.

More then 100 world premieres were held by Nuno Aroso, who first recorded a great deal of this repertoire. Peter Klatzow, Peter Ablinger, Oscar Bianchi, João Pedro Oliveira, Amanda Cole, Kumiko Omura, Luís Antunes Pena, Matthew Burnter, Martin Bauer, are some of the many composers who wrote for Nuño.

He performs, teaches, and is jury member alongside the most prominent artists, conductors, and composers of our days, in Portugal, France, Germany, Belgium, Spain, Italy, Slovenia, Brazil, China, Thailand, South Africa, Argentina, Canada, Sweden, Greece, England.

Particularly motivated by the enrichment and renewal of the concept of the concert as an whole experience, Nuno Aroso frequently forms artistic relationships with other disciplines: Dance, Cinema, Theatre, Literature. The commitment with chamber work, improvisation, and experimentalism leads Nuño to collaborate with many different ensembles and personalities all over the world. At the moment he is part of the german based project Ruido Vermelho trio (Luís Antunes Pena - Elect, Francesco Dillon-Cello).

Having completed the percussion course at the Escola Profissional de Música de Espinho, Nuno Aroso pursued his studies at the Escola Superior de Música do Porto and at the Conservatoire National de Strasbourg, obtaining a Soloist Diploma in Marimba and Vibraphone. In Paris, with Jean Pierre Drouet, he approached the repertoire of the contemporary musical theatre for percussion. In 2001, he was awarded with the Academic Merit Prize of the António de Almeida Foundation and in 2008 he was given a Creators Prize by The National Centre for Culture for the project Technicolor, a solo project and a cd in collaboration with a group of relevant composers, about the universe of cinema."

-World Percussion Movement (

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Track Listing:

1. (Like a Mask, An Arm a Head) I 4:51

2. (Like a Mask, An Arm a Head) II 6:37

3. (Like a Mask, An Arm a Head) III 3:50

4. O Exagero Minusculo 1:29

5. And they Would All Stumble Upon Some Figure I 6:34

6. And they Would All Stumble Upon Some Figure II 9:51

7. In Holes 13:10

Related Categories of Interest:

Clean Feed
Compositional Forms
Improvised Music
Electro-Acoustic Improv
Quintet Recordings
European Improvisation, Composition and Experimental Forms
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