Neon Colonialismo

Description

'Neon Colonialismo' is the new album - the first under his own name since 2014 - by 'Batida', one of the main catalysts of the afro-electronic scene. Batida is the alias of Pedro Coquenao, a multimedia artist (radio, music, dance, visual arts) born in Angola and raised in Lisbon. Like his previous productions, this record is driven by a collaborative approach. It features the participation of many emblematic figures, from Bonga and Botto to Branko (to name only those whose names begin with B...). If colonialism is the common thread running through this album, both visually and thematically, 'I could have spoken about a new Lisbon that flashes and shines, but that is not the idea. Recognizing history is the only way to honor its beautiful light.' Batida's tracks operate simultaneously on two levels: a fully conscious historical approach to the social changes at work, and a more personal and autobiographical dimension, as is the case with 'Bom Bom', the magical song (and its video) written and recorded with Mayra Andrade, released just before summer. In all cases, his intention is clear: to provoke both the body and the mind, movement and reflection, by pointing directly to the colonial past and trying to move from shadow to light, while arousing an irresistible urge to dance. As stated in the liner notes: 'Reparar: the verb reparar, in Portuguese, also means to notice, perceive and become aware of, just as much as to restore.' Batida's modus operandi has always been made up of encounters. This album is no exception, since it features his old accomplice Ikonoklasta, as well as an impressive list of guests including living, past, present and future legends from Angola, Portugal, Brazil, Cape Verde and Great Britain. In order of appearance: DJ Satelite, Bonga, Mayra Andrade, Poté, Nástio Mosquito, Ikonoklasta, Octa Push, DJ Dolores, Lia de Itamaracá, Joao Morgado, Mário Lúcio, Botto Trindade, Pedro da Linha and Branko. 'Neon Colonialismo' thus connects the two shores of the Atlantic Ocean, culturally and practically: although Batida is based in Lisbon, the ten tracks were created while traveling between the Portuguese capital, Luanda, Évora, Berlin, Recife and London. Driven by subtle and refined production, they make use of electronic and acoustic instruments, alternating songs and instrumentals, and brushing up against styles ranging from afro dancefloor to kazucuta via semba house and other genres yet to be defined.