After three albums of original music released in her own name, Joana Guerra has left the big city and let the ground grow under her feet, interfering in her life and her creativity. Left behind her is Gralha, the starting point from which she began in 2013, in which she approached her music and lyrics in a solitary fashion. In the following years, she gradually opened up her arrangements to other instruments while enveloping herself in a very rich experience on the Lisbon experimental scene and in countless works commissioned for theatre, dance and performance. It was therefore no surprise that we should feel the powerful collective idea of Chão Vermelho, in which Maria do Mar’s violin and Carlos Godinho’s percussion join Joana Guerra’s voice and cello in forming a tentacular body from which songs sprout like miracles of nature growing from a barren and devastated earth. In the images of her album, released by the Berlin-based Miasmah Recordings, André Cepeda’s photographs show the new scenario of Joana Guerra, where the clay leaves deep scars, but also extracts the raw material of creation. And it is in this apparently inhospitable and bloody context that Joana Guerra cultivates this music that regenerates our spirits.
Maria do Mar