Brief Introduction Cancer House Having things in the right place counts. Beyond a matter of doing everything neatly, being a tidy person or a mathematical obsession. It can be a manifestation of a lot of work, of spending a lot of time together, of an understanding that materialises beyond chemistry, a series of things. 'The Moth', Cancer House's debut album, recalls Slint's 'Spiderland'. Beyond the aesthetics, the sound, the genre. The instruments are arranged, everything happens at the right moment. There is rigour. However, what manifests with superiority is the exaltation that what is being heard could not exist in any other way. Any piece out of place would cause a feeling of displacement, of disorder. Quartet formed by Keeyan Haack, Lily Sharatt, Alex Furrh and Whitney Johnson (perhaps the best known of the four, with albums on Drag City and International Anthem), they come from Chicago and embrace the current indie fascination with the sounds of the 1990s such as slowcore and post-rock. If the precision recalls Slint, the places where the voices travel recall Bardo Pond (Lily's voice, above all, always seems to be somewhere else, an underground beyond), but the tone, what Cancer House sound like, does not recall anything in particular. It is a particular sound, sleepy like Codeine's, without the fascination of drug-induced languor, which aspires to continue in that state, to perpetuate it, to make it even greater. It seeks what travels with sleepiness and after it. A special characteristic. It comes from playing together for a long time, from progressing as a unit. It goes beyond the sum of the parts, the sound of Cancer House on 'The Moth' exists as self-medication. 'Flowers Over There' is heard as the greatest example of this, the voices flowing, appearing in sequence without combination, while in the background the music seems filled with sounds - more than instruments -, sounds that warm a kind of torment: whatever it may be, it emerges in the form of a scream, when least expected/when most expected, as in Slint's 'Good Morning Spider'.
Por tudo o que acontece à volta, a música hoje tem um papel fulcral. Como manifesto de um mal-estar, como resistência ao que aí vem. Pode-se manifestar contra tudo, como a música pode ser uma manifestação desse estado, melhor, de um estado em que nos podemos encontrar. O som anestésico dos Cancer House é o sono que nos mantém acordados, as cortinas fechadas de um quarto do qual não podemos sair, mas também onde não conseguimos dormir. Só estar na cama, a aceitar uma coisa parecida à derrota. A precisão deles, o encanto por este estado, de como o prolongam, é uma grande vitória. Não é fácil uma apresentação com música original em 2026, sobretudo quando se reporta tanto ao passado. Eles conseguem-no. AS Abertura de Portas 20:30 Preços Entrada - 12€