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AboutFoge Foge Bandido has been dating for a chance to discover the music of the people and not the musicians and given the time, the task of selecting the material. I was trying to express the maximum of this process; conscious of course that chance extends itself to this process and understanding that maybe I did not understand anything.
Manel Cruz (Singer, composer)
Side a, side b, side c, there is nothing in the editorial resumption of Manuel Cruz (Ornatos Violeta, Pluto) that we can label - which, somehow, it has been inferred by the name of the project: Foge Foge Bandido.
Everything is connected: two discs + a book = a work. If anything, there is a proposal: to hear the discs as seeing a movie in which songs and stories contained therein let you draw imaginary narratives and thus establish a communion between the identity of the author, interpreter of his feelings, and the listener, interpreter of the interpreter according to their feelings. The book, being aesthetic shed another fact from the same source (which is as if to say a whole and simultaneously a part), does not intend to fulfil the role of a making of, but supports the conjecture about how the various phases have been the long process - almost ten years – that led to this work. And what it is the name? Foge Foge Bandido? No, this is the project. O amor dá-me tesão? No, that is the title of one of the disks. Não Fui Eu Que Estraguei? No, that is the title of the other disk. So? Perhaps the listener will find the answer, if deems necessary, the symbol that there can be seen the door open for all participants to feel, to get away from all things pre-given and to venture to take part in the pleasure of sharing and decide. If there is, indeed, a characteristic that can define the path of this project is the spontaneity, both as a method of combining the sounds and words to the emergence of a "discourse" (est) ethical, and as a criterion for the inclusion of passengers in the escape, where they meet musicians, friends (people and animals), and unknown family. Experience was the watchword. Hence, for example, the multiplicity of instruments and non-restrictive view of the concept of musical instrument, promoted to "working tool" – whether it is a software, an analogic keyboard or a bag of beans. View will be heard. Ultimately, there will be as much to lose. That's life.
Marcos Cruz
Manel Cruz (Singer, composer)
Side a, side b, side c, there is nothing in the editorial resumption of Manuel Cruz (Ornatos Violeta, Pluto) that we can label - which, somehow, it has been inferred by the name of the project: Foge Foge Bandido.
Everything is connected: two discs + a book = a work. If anything, there is a proposal: to hear the discs as seeing a movie in which songs and stories contained therein let you draw imaginary narratives and thus establish a communion between the identity of the author, interpreter of his feelings, and the listener, interpreter of the interpreter according to their feelings. The book, being aesthetic shed another fact from the same source (which is as if to say a whole and simultaneously a part), does not intend to fulfil the role of a making of, but supports the conjecture about how the various phases have been the long process - almost ten years – that led to this work. And what it is the name? Foge Foge Bandido? No, this is the project. O amor dá-me tesão? No, that is the title of one of the disks. Não Fui Eu Que Estraguei? No, that is the title of the other disk. So? Perhaps the listener will find the answer, if deems necessary, the symbol that there can be seen the door open for all participants to feel, to get away from all things pre-given and to venture to take part in the pleasure of sharing and decide. If there is, indeed, a characteristic that can define the path of this project is the spontaneity, both as a method of combining the sounds and words to the emergence of a "discourse" (est) ethical, and as a criterion for the inclusion of passengers in the escape, where they meet musicians, friends (people and animals), and unknown family. Experience was the watchword. Hence, for example, the multiplicity of instruments and non-restrictive view of the concept of musical instrument, promoted to "working tool" – whether it is a software, an analogic keyboard or a bag of beans. View will be heard. Ultimately, there will be as much to lose. That's life.
Marcos Cruz
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