Mateus Alves is steps away
Mateus Alves and most of humanity are within 6 degrees of each other. This matrix combines the small-world principle behind this fact with inter-artist recommendations-in-series. By this m.o., writers, musicians, filmmakers, quiltmakers, dancers, painters, multimedia artists, architects, sound designers, chefs, producers et al (see categories) across the planet are within close, discoverable steps of each other, and most of the world as well. 100% AI FREE
I RECOMMEND people (do you?)
Why again is Mateus Alves mere steps away from all other artists in here, and by extension, everybody on the planet?
WHO IS CURATING FROM HERE?
- Vertex/Edges Out by: The Matrix
Artist & Where
- Name: Mateus Alves
- City/Place: São Paulo
- Country: Brazil
- Hometown: Recife, Pernambuco
Life & Work
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Bio:
Born in Recife, Pernambuco, Brazil, Mateus Alves holds a degree in music from the Federal University of Pernambuco (UFPE) and a master's degree in composition from the Royal College of Music, London, UK - where he also studied composition for screen. Since 2013 Mateus has been working constantly with soundtracks for films from Pernambuco. He recently concluded, in partnership with Tomaz Alves Souza, the original soundtrack for the feature film "Bacurau" by Juliano Dornelles and Kleber Mendonça Filho, which won the Prix du Jury of the Cannes Film Festival 2019. His work combines elements from the popular music of the Brazilian northeast with the textural techniques of composers like György Ligeti, with influences that range from John and Alice Coltrane, Clóvis Pereira, Sarah Davachi and Ennio Morricone to Soft Machine, Bernard Herrmann, Mica Levi and Giacinto Scelsi.
Natural de Recife, Pernambuco, Brasil, Mateus Alves é graduado em música pela Universidade Federal de Pernambuco (UFPE) e mestre em composição pela Royal College of Music, Londres, Reino Unido – onde também estudou música para cinema. Desde 2013 Mateus vem trabalhando constantemente com trilhas sonoras para filmes pernambucanos. Recentemente concluiu, em parceria com Tomaz Alves Souza, a trilha sonora original do longa-metragem "Bacurau", de Juliano Dornelles e Kleber Mendonça Filho, que ganhou o Prêmio do Júri no Festival de Cannes 2019. Seu trabalho combina materiais da música popular do Nordeste brasileiro com técnicas texturais de compositores como György Ligeti, passando por influências que vão de John e Alice Coltrane, Clóvis Pereira, Sarah Davachi e Ennio Morricone a Soft Machine, Bernard Herrmann, Mica Levi e Giacinto Scelsi.
Contact Information
- Email: mateusalvessouza@gmail.com
Media & Markets
- ▶ Buy My Music (downloads/CDs/DVDs): http://mateusalves.bandcamp.com
- ▶ Instagram: mateusialves
- ▶ Website: http://www.mateusalves.net
- ▶ YouTube Channel: http://www.youtube.com/channel/UCKB1GrZlb3qiMu0KjIZDtAQ
- ▶ YouTube Music: http://music.youtube.com/channel/UCTIFfBDJXcvfmRfY7Lw2NaA
More
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Quotes, Notes & Etc.
On the album "Música pra Cinema"
Music is a force that transcends the realm of sound. The composer Olivier Messiaen worked this ability by suggesting that we listen to the "color of time" in "Chronochromie". Similarly, Mateus Alves aims to reveal the "sound of the image" in the album "Music for Cinema".
As the name implies, the album compiles the composer's soundtracks for films such as "Rodolfo Mesquita e as Monstruosas Máscaras de Alegria e Felicidade" (2013, dir. Pedro Severien), "Amores de Chumbo" (2017, dir. Tuca Siqueira) , "Brasil S/A" (2014, dir. Marcelo Pedroso) and "Aquarius" (2017, dir. Kleber Mendonça Filho). With the latter two, Mateus Alves received the award for Best Soundtrack at the Brasilia Festival of Brazilian Cinema and at the Brazilian Cinema Grand Prix, respectively.
If cinema is the music of light, what the Pernambuco composer presents with this album is a sort of film of music. The tracks have a synaesthetic vitality that evokes characters, places, smells, colors, moods, images and situations full of nuances. With martial rhythms and imposing brass, "Marcha das Máquinas" translates into sound the inequalities of a country that industrialized too quickly, as portrayed in the feature film "Brasil S/A". A violent industrialization that undermined the distribution of wealth and the civil rights of the poorest. In a more textural and subtle treatment, "Lançamento do Operário Espacial" ("Brasil S/A") and "Casa de Detenção I" ("Amores de Chumbo") materialize the solitude of the worker and the melancholy of incarceration.
Synthesizing the jazz of Coltrane, the romantic music of Wagner and Tchaikovsky, waltz, minimalism, the music of northeastern Brazil and even rap, "Music for Cinema" points to a polyphonic and plural portrait of Brazil. The soundtracks of "Music for Cinema" are also the tracks for the complex scripts of our society, with their political, social and aesthetic inequalities and contradictions.
Em Português...
A música é uma potência que se expande para além dos domínios do som. O compositor Olivier Messiaen trabalhou esta capacidade ao propor a escuta da “cor do tempo” em “Chronochromie”. Por sua vez, Mateus Alves nos revela o som da imagem no álbum “Música pra Cinema”.
Como o nome indica, o disco compila as trilhas sonoras do compositor para filmes como “Rodolfo Mesquita e as Monstruosas Máscaras de Alegria e Felicidade” (2013, dir. Pedro Severien), “Amores de Chumbo” (2017, dir. Tuca Siqueira), “Brasil S/A” (2014, dir. Marcelo Pedroso) e “Aquarius” (2017, dir. Kleber Mendonça Filho). Com os dois últimos, ele recebeu o prêmio de Melhor Trilha Sonora no Festival de Brasília do Cinema Brasileiro e no Grande Prêmio do Cinema Brasileiro, respectivamente.
Se o cinema é a música da luz, o compositor pernambucano apresenta neste álbum uma espécie de filme da música. As faixas possuem uma vitalidade sinestésica que evoca personagens, locais, cheiros, cores, climas, imagens e situações cheias de nuances. Com ritmo marcial e metais imponentes, “Marcha das Máquinas” traduz em som as desigualdades de um país que se industrializou rapidamente, como retratado no longa "Brasil S/A". Um progresso violento que menosprezou a distribuição de renda e passou por cima das cidadanias dos mais pobres. De tratamento mais textural e sutil, “Lançamento do Operário Espacial” ("Brasil S/A") e “Casa de Detenção I” ("Amores de Chumbo") materializam a solidão do trabalhador e a melancolia do cárcere.
Sintetizando o jazz de Coltrane, a música romântica de Wagner e Tchaikovsky, valsa, minimalismo, música nordestina como baião e até rap, o álbum indica um retrato polifônico e plural do Brasil. As trilhas sonoras de “Música pra Cinema” são também as trilhas para os complexos roteiros da nossa sociedade, com suas desigualdades e contradições políticas, sociais e estéticas.
Texto: GG Albuquerque
Clips (more may be added)
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BACURAU | Trailer Oficial
134 views
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Hora do Rango - Mateus Alves
160 views
ABOUT THE MATRIX
This matrix is dedicated to creative artists and non-algorithmic discovery.
It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):
https://www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world
While the Brazilian musicians I work with now you may not know, I formerly worked (chasing unpaid royalties!) on behalf of Aretha Franklin, Barbra Streisand, Led Zeppelin, Jim Hall, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Wah Wah Watson (Melvin Ragin), Philip Glass, The Cadillacs (Earl Carroll), The Flamingos (Zeke and Jake Carey), and others, including Oscar-winning world-class great-guy Robb Royer. I was interviewed by David Dye for broadcast on U.S. National Public Radio several years ago ... about the Brazilians:
- Randy "Pardal/Sparrow" Roberts
All is more connected than we know.
w/ David Dye for U.S. National Public Radio
The matrix was inspired in (the kabbalah-inspired fiction of) Borges' El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone...
Our logo, per the "spirit" above, is a cortador de cana, a cane cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.
