:Papercutz | Do Outro Lado Do Espelho (Lylac Ambient Reworks)

 Cat: AB029
 Time: May 2010
 Media: CD & Digital Download

 Info: A dreamy, ethereal, cinematic reworking of 
 :papercutz's music by the hand of some very talented 
 artists. Do outro lado do espelho (transl: From the other
 side of the looking glass) means that this is their vision 
 of the album's songs in their particular artistic world...
 an ambitious project indeed. 

 Artist site: http://www.papercutzed.com/ 

 PDF Press Release: Download
 Tracklisting:

01. Encantamento
02. Lylac (Helios remix)
03. All we have left (Behind Version Emanuele Errante)
04. The gift of self (Simon Scott remix)
05. Do outro lado do espelho (Taylor Deupree remix)
06. A way to emerge (He Can Jog remix)
07. Ultravioleta (Inside The Nimbus Machine Rameses III)
08. A secret search (Another Location Autistici remix)
09. Caught in a halo (Chris Bissonnette remix)
10. Lost boys (The Astroboy remix)
11. Broken treasure (Jasper TX remix)
12. ...is fading (Feu Follet remix)
Papercutz - Do Outro Lado Do Espelho - Lylac Ambient Reworks  
  
 

QUESTIONS | :Papercutz

 Who are you?
 Bruno Miguel, Portuguese...world citizen.

 Why do you write music?
 From a young age, music has been my companion and in 
 time it turned into my creative outlet. Besides feeling 
 privileged to give something back, writing music takes 
 me to a much needed escape place and also keeps me 
 happily engaged, more than anything else. In the end I 
 also feel I've got something different to offer with my 
 work. 

 How would you describe your music?
 It's been evolving into an electronic, cinematic pop music.
 Nowadays It's a mixture of pop music (verse/chorus 
 song) structure and instrumental pieces with ambient 
 electronic textures and classical acoustic elements like 
 the piano, xylophone, strings, and the acoustic guitar. 
 It's also not just a one man studio project and female 
 vocalist but a live band that capture my ideas and 
 interpret them adding their own musical dimension to 
 the shows, always trying to create from intimate dream
 like moments to some more hyperactive ones. 

 What does this album mean for you?
 To turn an electronic pop album into an ambient one is 
 not an easy task but I'm happy of how it worked out. 
 The artists involved I believe speak for themselves 
 and the crossing of musical worlds is something I'm 
 always interested cause it brings :papercutz works to 
 new listeners and allows some interesting results and 
 unexpected results. I'm also extremely content that 
 Audibulb decided to take this on board and had the 
 vision to see the release as it is, much more than a 
 remix album. To those who complain of formatted 
 music and albums I hope crossovers like this are 
 welcome. In the end more than a :papercutz album
 it sounds like an original album on it's own and I think
 this has to due with the quality of the final work.

 What does the future hold for :Papercutz?
 Initially, I started out making music on a band so playing
 live was usual but when I created :papercutz as a solo
 project, I got stuck composing and producing, always 
 working on a studio and it didn't feel right to perform solo
 with a laptop and that checking your email syndrome on 
 stage. It took me a while to come up with a proper band
 and classical musicians with a taste for electronic 
 music (like looping or processing their acoustic 
 instruments beyond their physical possibilities) and a 
 lead singer with proper live experience. So now that I 
 feel I have that, I really want to keep touring as much 
 as I can hopping to reach out to anyone who wants to
 come in into our little artistic world.

 Another major challenge is the next original album 
 which is already on the works. For now, I can say that 
 it will evolve from lessons learned on our live shows 
 with a lot more focus on vocals and the acoustic 
 instruments (it'll feature some guest musicians on 
 various instruments besides myself) with the electronic
 sounds working a lot more on the background as 
 textural ambiences. It feels like modern chamber 
 ensemble working around pop songs instead of just
 a laptop electronica outfit, an image that sometimes 
 people get out of Lylac which was something I want 
 to evolve from.

 I do hope to have my work remixed yet again and
 another one of my own remixes might come up If I 
 eventually have some free time to accept some 
 invitations.
 
                    

 
VIDEO | Lylac (Helios Remix)
REVIEWS | Do Outro Lado Do Espelho (Lylac Ambient Reworks)
 THE ARK

 Often, you can judge an album by how it appears; the cover, the graphics, the colours used. When I saw this it 
 looked fragile, gentle and ethereal. For a band to come from Portugal and offer something so refreshingly textured 
 is a delight. Bruno Pereira Pinto is a name I’d never come across, but I certainly know of him now thanks to 
 Sheffield’s Audiobulb record label.

 The term ambient has become a somewhat dirty genre, swamped by talentless tunesmiths trying to make a fast 
 buck. :papercutz have bucked the expectation with a simply dreamlike album that takes you away with it. 

 There are obvious comparisons to be made with such bands as The Cocteau Twins but that does them a 
 disservice. There is a hidden darkness tugging away at the gentle rhythms that gentle soothe you when listening
 to this album. 

 From the opening track, Ecantemento, the sounds that sweep away at you simply take you to somewhere much 
 cleaner, somewhere you want to be. The album works so well in the way the tracks are layered that you can feel 
 something building consistently behind it. It has a narrative, a course that it follows and pulls you with it. It allows 
 you to create a vision to go with the soundscape the music creates.

 Ignore what you’re supposed to see, or what you’re force fed by heavy rotation playlists to imagine. Just slip 
 away to when all you had was the music and your imagination and let yourself go.

 Remixing an entire album is a dangerous game; it can fall short of the original material and create something that 
 bears little resemblance to the original creation. Yet throughout Do Outro Lado Do Espelho, the feeling of respect 
 for Bruno shines through every remix on this album. By using Melissa Veras’ vocals as an anchor point on each 
 track, the sounds sweep around her like a gentle storm.

 From knowing nothing about this band or its driving force Pinto, I’m converted instantly by what I’ve heard in this 
 stunning collection and want to hear more from :papercutz. A perfect album for long summer days, you’ll have to 
 go a long way to hear a better collection of songs from Europe this year. A simply lovely album, I urge you to 
 ignore the ambient tag and allow yourself to immerse yourself in this sumptuous collection.
 RECORD COLLECTOR

 Based in Portugual, Papercutz’s gravitational centre is Bruno Miguel, who’s erected a musical flag that flutters in
 a clear ambient sky with a hint of cirrus jazz, trip-hop clouds and electro/acoustic lightning. Stitched together 
 with the same precision as Four Tet’s work, his debut album Lylac spun candy into the ears and was a critical
 success. Miguel has now allowed a number of fellow stuntmen to unpick his stitching and add their own 
 needlework in remixing and retooling tracks from this album. All We Have Left, retooled by Emanuele Errante,
 shuffles along like gamelin trills, while Gift Of Self (Simon Scott) is a delightful ambient ebb beneath the original 
 vocals, sounding like The Cranberries’ lead singer on vacation. Is Fading (Feu Follet) suggests the minimalist 
 river force of Phillip Glass arching across flat ground towards the sea, while Taylor Dupree’s Do Outro Lado Do
 Espelho ends gloriously with vocals repeating into infinity. Encanamendo is a new Miguel track – albeit recycling 
 an original LP vocal – with a piano clarity which recalls Conny Plank’s production, while Ultraviolets gets an 
 intergalactic morse-stroke from Croydon via Rameses III. Essential counterpoint to the original album.
 BOOMKAT

 Lovely set of shoegazy ambient remixes of Portuguese composer :Papercutz from Helios, Simon Scott, Taylor 
 Deupree, Rameses III, Autistici, Jasper TX and more. The source material comes from his 'Lylac' album, a set of 
 cinematically lush orchestrations neatly blending acoustic and electronic instrumentation with popwise vocals, 
 ripe for the revision session. Undoubtedly, the highlight of the show is Taylor Deupree's magical reweave of 
 the title track, taking the focus away from the vocal to foreground the strings amidst beautifully dispersed 
 electro-acoustic detailing. Chris Bissonette also impresses with the icily distant percussion of his 'Caught In A 
 Halo' rework almost touching on Thomas Köner territory, and the majestic Jasper TX mix of 'Broken Treasure' is 
 greatly worthy of your time.
 HEADPHONE COMMUTE

 Last year we reviewed Bruno Miguel’s debut as :papercutz – Lylac (Apegenine, 2008). Miguel followed up the 
 album with Ultravioleta Rmx’s on the same label. Two years later, Lylac still resonates… Do Outro Lado Do 
 Espelho  (translated as “from the other side of the looking glass”) is a compilation of reworks from yet another 
 amazing selection of artists. After releasing Lylac, Miguel was inspired to allow other artists to extract the 
 foundation beneath the songs and erect upon it a structure of their own interpretations. This is an ambitious 
 project with contributions from Helios, Emanuele Errante, Simon Scott, Taylor Deupree, Rameses III, Autistici, 
 Christopher Bissonnette and Jasper TX. Whew! Are you impressed? Here are twelve amazing tracks by 
 masters of ambient and modern classical composition! The Helios remix alone is worth your attention. 
 Taylor Deupree incorporates the vocals into a delicious composition of guitar chords and harmonic song 
 progression [didn't expect that from him], while Jasper TX scratches on the surface of peripheral hearing 
 with his slow paced filtered piano chords and swelling cinematic atmospheres.
 DROWNED IN SOUND

 On a significantly lower profile but no less fascinating tip, Portuguese ambient pop musician :Papercutz has 
 commissioned a remix album of his work which reads like a who’s who of contemporary drone. Remix records 
 are often, by their very nature, frustratingly inconsistent, but thankfully Do Outro Lado Do Espello represents a 
 notably coherent and engaging exception. More specifically, Jasper TX’s contribution provides a masterclass in 
 submerged, yet emotionally arresting, washes of sound, while the quite heart-breaking Simon Scott offering is 
 amongst the finest pieces of music I’ve heard this year; don’t let this one pass below your radar.
 THE MILK FACTORY

 Originally the project of Porto-based musician Bruno Miguel Pereira Pinto, :Papercutz soon expanded to incorporate
 vocalist Melissa Veras, with other musicians joining the pair for live performances. Released two years ago on 
 Canadian imprint Apegenine, Lylac, the band’s first album, bridged the gap between stark atmospheric electronica 
 and elegant contemporary pop music to create a superb hybrid, served by Pinto’s delicate blend of acoustic 
 instrumentation, electronic textures and beats on one side, and by Veras’s softly ethereal vocal tones, 
 occasionally reminiscent of Anneli Drecker, on the other. The album was followed by a single, Ultravioleta, which
 featured remixes by The Sight Below, Neotropic, Spandex and Signer. This is partly what encouraged Pinto to let 
 other musicians give their own vision of his work. The resulting collection of remixes, published on Audiobulb, 
 features reworks by Helios, Simon Scott, Taylor Deupree, He Can Jog, Autistici, Astroboy, Chris Bissonnette, 
 Jasper TX, Rameses III, Emanuele Errante and Feu Follet.

 Expectedly, the tone is somewhat subdued and, occasionally on the verge of reflective here, but, despite involving
 artists from very different horizons, this album is extremely consistent all the way through, and actually sits 
 comfortably next to Lylac by complementing it rather well. Indeed, while each artist interprets a given song in their 
 own way, bringing their own universe into that of :Papercutz, they all do so very respectfully of the original work 
 by retaining much of the layered aspect of songs. These are however for the most part radical reworkings, which 
 see soundscapes developed into lush new ambient forms or retract into spacious drones, while the voice is in turn
 wrapped in textures and treated as just another sound source, or isolated as primary organic element to increase
 its impact.

 On The Gift Of Self, Simon Scott focuses on expanding just a fraction of guitar tones into a rising drone around 
 which circles distant voices, while Taylor Deupree turns the somewhat stripped down Do Outro Lado Do Espelho
 into a rich and vivid soundtrack above which Veras’s voice appears as in suspension. He Can Jog brings things
 back down to earth for a moment with a stabbing distorted electric guitar on A Way To Emerge, but soon the tone
 softens again and allows for another dreamy space to develop, away from the marimbas and percussions of the
 original. Perhaps the most striking remixes are found toward the end, first with the breathy Astroboy version of
 Lost Boys, which retains the rhythmic pattern of the Lylac version, but dips it into a much hazier sound setting, 
 while he pushes the voice slightly deeper in the mix, then with Jasper TX’s magical take on Broken Treasure. 
 Building on a single looped chord progression by slowly adding delicate piano lines, then burying them under 
 layers of sound, Dag Rosenqvist delivers here a truly magnificent version.

 Remix projects can be difficult to carry through without impacting in one way or another on the original versions, 
 especially when an entire album is concerned. In the case of :Papercutz, the great respect with which each of
 the contributors treat Bruno Miguel Pereira Pinto’s delicate arrangements and Melissa Veras’s soft interpretation 
 ensures that both original and remixed versions can exist side by side, complement each other which retaining
  their own identity.
 TEXTURA

 It's wonderful to see Bruno Miguel's :papercutz project receive newfound exposure through the Audiobulb imprint
 and to see his electro-acoustic pop re-interpreted by an impressive cast of kindred spirits, with Helios, Simon 
 Scott, Taylor Deupree, Jasper TX, and Ramses III a sampling of the high-calibre names involved. A set of ambient-
 styled reworks of the last :papercutz album Lylac, the hour-long collection's title, Do outro lado do espelho, 
 translates from the Portugese as “on the other side of the looking glass.” Enough remains of Lylac's sound for the 
 listener new to Miguel's world to derive some sense of his :papercutz style. The vocals, marimbas, pianos, and 
 electronics heard in his originals aren't removed but instead added to and re-shaped by the contributors—each 
 one looking upon an original from the other side of his/her own respective glass. 

 Though the album title reads Lylac Ambient Reworks, the dozen tracks hardly hew to a single style. The album 
 alternates between electronic songs (restrained and extroverted) and soundscapes in such a way that a funky, 
 uptempo treatment (The Astroboy's “Lost Boys”) is followed by an instrumental soundscape (Jasper TX's stately 
 “Broken treasure”) of wholly different character. Rameses III's “Inside The Nimbus Machine” vocal-less makeover 
 of “Ultravioleta” takes a five-minute plunge into ambient soundscaping haze, and Chris Bissonnette's “Caught in a 
 Halo” becomes an entrancing, 21st-century gamelan setting. Simon Scott's remix of “The Gift of Self” is 
 unfortunately too short at two minutes to register as one of the album's more significant pieces, even if it is a 
 succinct example of Scott's ambient dreamscaping style. By contrast, Autistici introduces a funkier dimension to 
 the album in his “A Secret Search” version, while The Astroboy's “Lost Boys” even nods in a hip-hop direction in 
 the bumping groove that powers the vocal-based song. Beats, vocals, and stuttering voice fragments turn He Can 
 Jog's treatment of “A Way to Emerge” into a flickering and hyperactive three-minute ride. 

 Keith Kenniff has a habit of elevating any project he contributes to and it's no different in this case, as his 
 rapturous Helios version of “Lylac” offers one of the album's loveliest moments. The track embeds delicate female 
 vocals within an elegant, soul-stirring arrangement that exudes an epic shoegaze-like character during its slow 
 rise. Taylor Deupree's version of “Do outro lado do espelho” is powerfully affecting too. The 12k head gives the 
 original's emotive vocal dimension ample room to flower, and fashions an intoxicating piano- and harp-oriented 
 arrangment as a support for it. Miguel's own new :papercutz song “Encantamento” introduces the album so 
 splendidly, it makes one long for more original :papercutz material. Though he enriches the track with electronics 
 and serenading vocal effects (and tips his hat to Steve Reich in the mallet percussion patterns that patter 
 alongside the piece's lyrical melodies), piano is the central voice. At day's end, the project as a whole makes one
 long to hear more of Miguel's unaltered :papercutz material. 
 CYCLIC DEFROST

 As is often the case with significant albums in the general electronica field, a follow up album of remixes, re-
 interpretations or reworks follows. Do Outro Lado Do Espelho revisits Lylac though the of the ear of Bruno 
 Miguel whose selection of collaborators allows for this project to surpass the originals so soundly. Translated 
 from the Portuguese as ‘on the other side of the looking glass’, which is an apt enough metaphor for a translation 
 act, as if the remixers were actively manipulating the sound reflection of the original in different guise, presenting
 new faces and aspects to the ear of the beholder. 

 A remarkable group of artists they are Helios with a beatific version of Lylac, long dreamlike chords and textured
 ambient electronic undertones with a reverent and ponderous placement of the vocals high on attenuated effect.
 Taylor Dupree with the title track, displaying keen mixing skills, highlighting the original and heightening the 
 elements while maintaining a faux elegant simplicity. Jasper TX’s version of Broken Treasure provides a long 
 magisterial entrance to the track, before the fusion of elements heightens and forms a mist like ambience. Feu 
 Follet similarly holds …Is Fading with the presence once due to the organ as it holds and slightly alters chord and 
 tone with subtle effects gleaming through and eventually releasing at the end. Rameses III’s Inside the Nimbus 
 Machine version of Ultravioleta displays a high degree of abstraction from the original, opening with the repeated 
 record-esque scratched sample before wandering into streached out experimentation of the elements in a 
 discrete sonic plane of tonal ambience.

 :Papercutz’s movement to Audiobulb allows for a wider audience for this Portuguese artist work as indeed the 
 remix project solidifies as it makes connections within the contemporary experimental ambient network. The 
 album heightens the dreamlike nature of the originals, purposefully constructed iconic mythos, deliberately 
 utilising contemporary techniques and technology, along with the musical artists adept at their manipulation. It 
 is a reflected abstraction that will hold your ear transfixed long after the mirror makers acts.
 BARCODE

 Portuguese electro-acoustic pop group ‘:papercutz’ allow their debut album (Lylac) to be remixed by a host 
 of ambient/microsound artists. 

 Having not heard the original, I can only take these reinterpretations at face value; however, the key word
 appears to be ‘fluency’. As a collection of tracks, Do Outro Lado Do Espelho fits together seamlessly to provide 
 a raft of dreamy ambient music led by drifting piano, some textural programming and bouts of wandering female 
 vocals. 

 Few tracks stand head and shoulders above the rest, but the opening piano-piece Encantamento is ultra-
 soothing, leading into the reflective muse of Helios’s remix of Lylac.

 Most of the tracks on Do Outro Lado Do Espelho struggle to carry strong melodies and lack any discernable 
 rhythms, so the record often drifts into almost entirely ambient landscapes that only occasionally toy with 
 :papercutz supposed pop aesthetic.

 Better heard in its entirety, Do Outro Lado Do Espelho is perfect for hazy/lazy summer afternoons, where 
 intentions stretch little further than falling into a state of atmospherically induced comatose. If I have a criticism 
 of the record, it lies in its own lack of variety – unusual in a remix album.
 IGLOO 

 A set of ambient reworks was probably not uppermost in Bruno Miguel’s mind when he was producing the 
 winsome poptronica of Lylac. For all the attendant digi-fizz and glitch-whizz, its band-y instrumentation, crispy 
 beat base and gooey she-warble topping were its distinguishing features. But apparently bitten by the Ambient 
 bug (“because of my love for movie soundtracks”), he made a bunch of tone-tweakers have their way with his
 :papercutz. Taylor Deupree, Simon Scott, Jasper TX, Christopher Bissonnette, Helios, Rameses III, Emanuele 
 Errante, and Autistici lead a considerable cast of expert knob twiddlers. Whether airbrushed and soft focused, 
 or washed out in an oneiric spin cycle, what comes out is a genre-busting blend of what might be designated 
 Pop Ambient, were the appellation not already controlled by Kompakt. Jasper TX’s contribution, for example, 
 might come from (an as yet unheard) Pop Ambient 2011, his archaeologies unearthing and re-burying the riches
  in “Broken Treasure,” whose accretions of textures mount over a hymnal chord progression merging into a 
 beauteous blur before relenting. Helios’s widescreen version of “Lylac” (audio stream below) is a different 
 animal; the album’s most obvious Ambient Marquee Moment – A Good Thing or A Bad Thing, depending on your 
 orientation: wisps of gossamer femme vox are festooned breathily over a twinkling heartstring-tug production 
 of Celtic soundtrack-cum-pop epic proportions that comes on like Sigur Ros consorting with Clannad. Exquisite, 
 but too rich for this ambienteer’s blood. Taylor Deupree’s retool is, gratifyingly, more subtle, though still skewed 
 toward the pop of any hypothesized ambient-pop crossover, foregrounding guitar and placing voice in suspension 
 in a distanced electro-acoustic setting, then harping it up with pretty pianification. It could be an aversion on this 
 listener’s part, but there’s more reward in tracks that dispense with vocals to work with texture. 

 Best is Chris Bissonnette’s “Caught In A Halo” rework with its chimes and drones almost touching the void of 
 Thomas Köner. Feu Follet’s version is another excellent dwelling on the beguilement of pure texture in classic 
 ambient drone mode. Simon Scott and Rameses III are also true to form, the latter swelling from sounding 
 depths to scale celestial heights, the former setting fire to slivers of distant guitar flame, thousand-yard 
 shoegazer phaser on stun (albeit briefly). Contrasting takes for those seeking less abstracted versions come 
 from Autistici, who finds the funk, among other things, in “A Secret Search” (beware, dodgy vocal insertions), 
 and the fizzing Astroboy’s rework of “Lost Boys” nods to hip-hop – literally – with a headnod groove 
 underpinning its vocal-led take. Do Outro Lado De Espelho – Lylac Ambient Reworks is a set that likes to leave 
 its pop colours showing, and this may suit some; but, caveat auditor, the search for Lylac’s Inner Ambience is 
 one which yields a whole spectrum of findings.
 THE RECORD STACK

 I have recently been receving a lot of music from artists who definitely deserve more attention. This next band
 bring some different sounds to the table. Bruno Miguel, the leader of this well developed group, and I have 
 been having an email exchange throughout the past week, and I have finally gathered my thoughts to review 
 them.

 This once single act project carried out by Bruno Miguel has become one of the few groups to come out of 
 Portugal into the international independent electronic music scene. :Papercutz pursue the perfect balance 
 between acoustic and electronic sounds. What makes up this wonderfully crafted group are their live
 instrumentals, along with their spacious electronic sounds filled with lush ambience and savoring dream like 
 melodies, while the delightfully soft vocals are wrapped in many layers to form a primary organic ingredient 
 specific to this bands sound. :Papercutz will swell you into another world making you yearn for more of those 
 precious melodies and calm soaring vocals.
 SAVARAN MUSIC

 Back in April this year I read a review http://www.tokafi.com/newsitems/cd-feature-papercutz-lylac/ about the 
 new Portuguese electronic project known as Papercutz led by Bruno Miguel and their debut album Lylac, released 
 by Apegenine Recordings (Canada) in 2008 http://store.papercutzed.com/ .  The sound was exciting and new and 
 blended electronic, electro-acoustic and field recorded sounds with English and Portuguese vocals in a heady mix 
 of pop and avant-garde/electro-classical genres. It seemed cutting edge to me and the full album did not disappoint 
 when it arrived – it has been much played over the rest of this year.

 I was therefore delighted when I found out that one of my favourite experimental electronic music labels in the UK, 
 Audiobulb http://www.audiobulb.com/ ,was bringing out a remix album of Lylac featuring an impressive array of 
 the most respected artists in the world of electronic, drone and electro-acoustic ambient music. 

 Released in April 2010 Do Outro Lado Do Espelho (Lylac Ambient Reworks) includes 12 remix tracks by Helios, 
 Simon Scott, Taylor Deupree, Rameses III, Autistici, Jasper TX, Emanuele Errante, He Can Jog, Chris Bissonnette, 
 The Astroboy and Feu Follet. All of the tracks show a great respect for the original material and tend to develop 
 around the haunting/smoky vocal phrases of Melissa Veras’s voice or subtle melodic phrases from the acoustic 
 instrumentation of the source material. The remix album complements the original Lylac to such an extent that you 
 would have thought it was from a double disc original release.

 Having said that the ambient reworks definitely reflect the artistic process of their originators and the Lylac tracks
 have been throughly disected, morphed, stretched or compressed by master surgeons then re-assembled into an 
 album playing out in some sort of dreamy parallel universe where all the same elements exist, but fused into utterly
 different forms.

 My favourite interpretations include the magical Helios remix which is now accompanied by a fantastic CGI based
 video directed by Daihei Shibata http://vimeo.com/11796577 and the sublime Taylor Deupree remix of Do outro lado 
 do Espelho which interweaves fragmented guitar lines with evocative vocal phrases and TD’s unique processed 
 field recordings. The latter track also has its own video directed by Javi Devitt http://vimeo.com/13345156

 Bruno Miguel is now recording his second album under the Papercutz moniker which will place the electronics 
 more in the background, giving way to the vocals and acoustic instruments. He has also hinted that a further 
 ambient remix may arise from the next project. I look forward to seeing what this innovative artist and his musical 
 collaborators come up with next and I can thoroughly recommend both the remix album and the original Lylac 
 album. 
 AMBIENT BLOG

 Well here's for something completely different!

 Usually, ambientblog is not the platform to promote portuguese electronic pop music - however adventurous it 
 may be. But after releasing Lylac - adventurous electronic cut-up pop music featuring Melissa Veras on vocals, 
 :papercutz main performer Bruno Miguel grew fond of the ambient genre ("much because of my love for movie 
 soundtracks") - and somehow managed to an impressive list of ambient music artists to rework the music on 
 Lylac. 

 To get you interested: "Do Outro Lado De Espelho - Lylac Ambient Reworks" contains remixes by folks like 
 Helios, Emanuele Errante, Simon Scott, Taylor Deupree, Autistici, Christopher Bisonnette, Jasper TX - and that's 
 not even everybody on the list! 

 Names like that are enough to trigger anyone interested in contemporary ambient music to check out this album. 
 I was going to write "to run to their record store" - but I'm afraid most records stores will not stock music like this 
 so you might check out the audiobulb website to order it directly from there.

 While Lylac is adventurous enough to be enjoyed in it's own right (one seldom hears an album defying the 
 borders of different genres so effectively) - for Do Outro Lado De Espelho ("From the Other Side of the Looking 
 Glass") Bruno Miguel can be credited for opening a whole new perspective on ambience in music. 

 It still pop music, still, but with a dreamy, ethereal and cinematic twist seldom heard otherwise.

 All remixing artists add a personal dimension to the original tracks. Their work is not ambient music in the 
 'soothing'sense: some of the reworks are emotionally quite harsh confronting. But on the other hand there's 
 some extremely romantic and touching remixes, like the Taylor Deupree version of Do Outro Lado de Espelho 
 or the Helios Lylac remix. 

 Ambient music has its own unwritten conventions of how it should sound, of when it's "deep" and of when it 
 might even be "art". From out of nowhere, this stunning :papercutz release overthrows all conventions and 
 shows there can be a perfect blend of ambient-, electronic and pop music. 

 All contributors to this album should be credited for that, as well as audiobulb for releasing a gem like this 'Do 
 Outro Lado de Espelho (Lylac ambient reworks)' marks the end of a chapter for :papercutz and simultaneously 
 opens a door for a new one." Bruno Miguel states. So who knows what the future may bring...!
 AAA MUSIC

 :papercutz, the Portuguese Electronic music project formed in 2005 by the only Bruno Miguel,  after the 
 releasing of the critical acclaimed album Lylac in 2008, returns after two years with a new remix album: Do outro 
 lado do espelho (Lylac ambient reworks), It featured relevant ambient music artists like Taylor Deupree, Keith 
 Kenniff, Simon Scott among many others that Bruno personally invited to work on his music.

 The result is a remarkable album characterized by dreaming atmospheres and the use of well chosen sounds, 
 clinks, background noises, repeated lines, voice echoing in the distance, all contributes to create a particular 
 arrangement for every tune.

 The lead vocalist Melissa Veras sings gently, in Lylac her vocals are almost a sigh, while in Encantamento the 
 piano is the absolute starring, it could be a piece of classical music, with its moving crescendo.

 The downside of this kind of work is that at an absent-minded listen tunes could sound very similar each other 
 and this is the risk that ambient music takes in general, but the bright side is that it will be definitely appreciated 
 by lovers of this genre for the real quality of this project.

 Bruno Miguel made a brave choice, or a cunning one, but experimenting with music is always a good thing.
 INCENDIARY MAG

 A lovely album this, so nice in fact that I must admit that I haven’t got round to listening to the LP it is supposed to 
 remix: Lylac. The LP has the impression that it floats in a vat of its own making: Ultravioleta is a marvelous 
 example of this; a light breezy fancy that floats like gauze in a golden atmosphere. 

 At times there is a feel that we are listening to the soundtrack of one of those “smart”, über-techno cop dramas 
 that the US produces (you know; wondering, timorous piano passages that are quietly promising but never lead 
 anywhere substantial) but don’t let that put you off, the sensations are fleeting at best. And there’s enough sand 
 in the Vaseline to keep the most musically perverse happy. The female vocals often play a wicked game of making 
 you think you’re listening to hotel easy listening music until some concoction of electronics and discordant 
 scratches, clumps and nurdles destroy any worry that things are getting too smooth. Listen to tracks like He Can 
 Jog’s remix of A Way to Emerge, which really walks the line between begging to be skipped or turned off and 
 presenting something genuinely beautiful.

 There’s a psychedelic edge to this record that conjures up some of the Cocteau Twins’ more dreamy moments as 
 well as some of the more drugged elements of Glide’s canon (check out the Emanuelle Errantee remix of All We 
 Have Left). A Secret Search is genuinely trippy, the beats and electronic squiggles disorientate the senses: it’s 
 difficult for the listener to come to terms with the track’s fractured melody and shifting vocals. Tracks like Do Outro 
 Lado Do Espelho also get the “Sigur Ros” treatment; namely, plaintive vocals and scratching, windswept sounds 
 over a gently plodding rhythm, but ‘tis is no bad thing.
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