Grupo Quês Moce 2.0 Releases "Sentimento Perdido" Album in Portugal
Grupo Quês Moce 2.0 has released their new album, "Sentimento Perdido," in Portugal, a project that blends tradition with new conceptual ideas in its harmonic, melodic, and orchestral arrangements. The album features an intergenerational and international cast, aiming to unite collective memories with reinvention and new approaches to composing Cape Verdean music. Humberto Ramos leads on keyboards and musical direction, with vocals provided by Dany Silva, Ana Firmino, Djone Santos, Frabizio Croce, Rui Gomes, and Íris Lima. The album includes ten compositions: eight *mornas* with lyrics in Cape Verdean Creole, one in Italian dialect, and a single *coladeira* as a tribute to the genre. Several tracks are entirely instrumental, showcasing the pure eloquence of the instruments with a Creole flavor. The compositions are noted for their inédite nature and original harmonic and melodic complexity, contributing to the appreciation of Cape Verdean music. Each track is described as a sonic painting depicting Cape Verdean daily life, from serenades to landscapes. The use of 21st-century instrumental technologies aims to deeply connect with the Creole soul, evoking nostalgia, romanticism, and serenity. Grupo Quês Moce, founded in 1977, previously released the LP "Pará B’ Ôvi." This release is part of the "Kriolo Sounds – Cada Nota, Uma Estória" project, which supports artists from Cape Verde and other CPLP countries by providing direct audience revenue from intimate monthly performances.
The release of "Sentimento Perdido" by Grupo Quês Moce 2.0 highlights the ongoing evolution and internationalization of Cape Verdean music. By integrating traditional forms like *mornas* and *coladeiras* with contemporary production techniques and a diverse, international ensemble, the project seeks to broaden the genre's appeal while retaining its cultural essence. The "Kriolo Sounds" initiative, which directly channels audience revenue to artists, presents an alternative economic model for cultural production, potentially fostering greater artistic independence and sustainability. This approach could serve as a replicable framework for supporting artists in smaller cultural markets globally, particularly as digital distribution models continue to shift revenue streams.
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