Two hours of microtonalism & free improv on Brazilian guitarist George Christian's magnum opus 'Toadas Stellamarinas'.
Prolific Brazilian guitarist and composer returns with another stunning display of experimental, improvised solo guitar. On Toadas Stellamarinas George draws on microtonalism, exploration of expanded techniques and free improvisation that cements him as one of the most original and innovative experimental guitarists hawking his wares.
"Toadas Stellamarinas, Semeaduras e Nada Passado para Trás" can be considered, narratively speaking, a combination of three seemingly distinct works—two EPs and one LP—that complement each other beyond merely having been recorded during the same period; it encapsulates a time of emotional recovery following my mother's passing and a year of demanding academic commitments.
It was the catharsis I needed. Performance perfection isn't the primary goal here; rather, it is the sincerity and honesty of the emotional expression captured in the moment. Even so, I sought the best possible recording conditions for this album." George Christian
The album features the brilliant collaboration of Ráiden Coelho on bass flute and transverse flute on several tracks. "Toadas Stellamarinas" and "Semeaduras" were EPs recorded using a 12-channel Behringer mixer (Xenyx 1202) and an MXT microphone, whereas "Nada Passado para Trás" was recorded entirely at Estúdio Menasnota by Heitor Dantas. Everything was mixed and mastered in Audacity.
Chronologically, the two "Semeaduras" releases came first. These two EPs can be viewed as the acoustic side of the album, while "Nada Passado para Trás" represents the electric side. "Toadas Stellamarinas" marks my first foray into the *viola caipira*, featuring four interconnected pieces. ...not exactly because of the tunings, but rather for their polyphonic and polychordal potential—especially regarding the rhythmic sustain of the two lowest strings.
These themes are more minimalist compared to the "Semeaduras." The four "Semeaduras" are variations on a single melodic theme, yet they feature complex developments within their improvisational narrative. Meanwhile, the LP *Nada Passado para Trás* gathers the most metamorphic and exploratory electric pieces, featuring a "Encerramento Transitório" (Transitional Closing) that acts as a bridge between acoustic and electric realms, alongside two "Epílogos" (Epilogues)—long, meditative forays into timbral unpredictability and atmospheric weight.
Ultimately, all these works make far more sense together than they do in isolation. The acoustic *viola caipira*, the acoustic/electric steel-string guitar, and the electric guitar serve as symbolic instrumental entities for each of the three facets of this album—which is, in truth, a musical triptych. They are panels in an exhibition tracing the continuity of a creative journey.
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