The album “Avalanche” marks the return of TOMARA a.k.a Filipe C. Monteiro to record editions, after publishing “Favourite Ghost” in 2017, his debut album.
TOMARA started promoting “Avalanche” last summer with the release of the single “Ao Sol”, continuing the discovery of its creations, in autumn, with “A Velha Canção”. The initial singles, about 5 years after the latest releases, immediately show a change in the choice of language – if in his previous work, English was the basis of his lyrics, “Avalanche” was already written in Portuguese.
Singing in Portuguese gives assertiveness to the songs, as it encourages me to speak directly and meaningfully. It was an important step and something almost paradoxical. During the pandemic, at a time when we were globally united and synchronous, I felt the urgency to talk to those closest to me. It only made sense to me to write in Portuguese.
Still, an evolution in sound, with the introduction of elements associated with electronic aesthetics, not disassociating itself from folk and the sound of the guitar, its instrument of origin. Also, a reinforcement in the rhythmic component, skilfully combining the virtual beats with the drums of Nuno Sarafa, a guest musician on this new album.
It’s an assertive record, with nerve and a sure pulse. I keep the contemplative look, which defines me as an author, but I lose the modesty of assuming that I have in my hands the gift of changing what makes no sense to me.
Alongside the themes published in the meantime and which have echoed on national radio, the repertoire of “Avalanche” is quite cohesive in the sound aesthetics that TOMARA wanted to explore – the beats and electronics emerge in the dreamlike and melancholy landscape created by guitars, pedal steel, and synths, giving it a new architecture, more pulsating and defined. The disc’s opening with the title theme directs the listener to make themselves available for a journey into the imagination of this project. Also noteworthy are “Dias a Mais”, “A Revessa” or “Ave Negra”, the latter with lyrics shared with Márcia. With a strong visual component in his work, Filipe C. Monteiro invited the designer José Mendes (josemendes.me) to design the artwork, the result being an object of rare creativity and good taste.
The official presentations of “Avalanche” take place on the 2nd and 11th of April, in Porto and Lisbon, at Novo Ático and at Teatro Maria Matos, respectively, with tickets between €12 and €15. For the passage to the stage of “Avalanche”, Filipe C. Monteiro conceived a visual object of intense dynamics that combines sound design with images and lighting movements, provoking in the audience a sensory experience of which his songs are the guiding thread.
Even before these concerts, TOMARA will take advantage of the month of March for a set of showcases in partnership with FNAC, an opportunity to, in close proximity to the public, tell a little about the genesis of “Avalanche”:
- 10 March | FNAC Chiado | 18:30
- 11 March | FNAC Aveiro | 17:00
- 11 March | FNAC NorteShopping | 21:30
- 12 March | FNAC Santa Catarina | 16:30
- 21 March | FNAC Almada | 18:30
- 01 April | FNAC Colombo | 16:00
- 02 April | Novo Ático (Porto)
- 11 April | Maria Matos Theater (Lisbon)
About TOMARA
TOMARA is the name chosen by Filipe C. Monteiro for his individual project. Musician, producer, and director, he collaborated with several artists (Sérgio Godinho, Luísa Sobral, Da Weasel, Márcia, The Legendary Tigerman, David Fonseca, Rita Redshoes, António Zambujo, Carlão, and many others) making video clips, documentaries or even the scenic component of your concerts. As a musician, he participated in the studio and live works by Deolinda, Samuel Úria, and Carminho: he co-produced the Rita Redshoes albums “Golden Era” and “Lights & Darks”. having collaborated on the albums “Casulo”, “Quarto Crescente”, “Vai e Vem” and “Picos e Vales”. At the end of 2017, he signed his first work under the name TOMARA. “Favourite Ghost” was praised by critics, having integrated several lists of “best albums of the year.” The singles “Coffee and Toast” and “For no Reason” appeared in countless playlists and national radio tops.
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