Brazil — Guilherme Arantes, Brazilian composer, singer and pianist, with twenty-seven recorded albums along with 47 years of artistic career releases a new album, “A Desordem dos Templários”, in digital media, on CD (digipack), on 180 grams vinyl (double cover with inner envelope insert) and also on a USB card containing studio resolution audios (48 kHz/24 bits) as well as making of videos of the recordings punctuated with illustrative images inspired by the lyrics.
In addition to recording the album his small studio in Avila, Spain Guilherme utilized the Symphonic Room at the Lienzo Norte Exhibition and Congress Center, in Ávila, with a Steinway “D” Hamburg piano, and prepared the recording sessions, on the stage of an empty auditorium, with the interpretations also recorded on video for the making of that unique moment. A quadraphonic microphone was used, with a double “Blumlein” pattern to capture the magnificent sound of the concert hall, all covered in hardwood, considered one of the best acoustics in Europe.The album cover is the work of Spanish illustration teacher Daniel Miguez. The graphic project was a fun project for Guilherme where he played with an “almanac” structure and woodcut typologies.
The album contains 10 new tracks, 8 songs, a progressive instrumental theme and also a conceptual sound design vignette. As a bonus track on the CD, there is an English version for the song “A Cordilheira” (Across the Abyss). The USB card also features an instrumental version of A Cordilheira.
The drums, bass, guitar, violins and trumpet parts were recorded in Sao Paulo, Brazil, and the guitars for the song Across the Abyss were recorded in Fort Lauderdale, Florida by Ivo Carvalho.
Guilherme enlisted the band in São Paulo, so that they could elaborate remotely the participations of drums (Gabriel Martini), bass (Willy Verdaguer), electric and acoustic guitars (Luiz Sérgio Carlini and Alexandre Blanc), violins (Cassio Poletto) and trumpet (Luciano Melo ) , as well as invited conductor Arthur Verocai to write the string arrangement for the song “Estrela-Mãe”. Everything, obviously, done via the internet, the only possible formula in times of isolation.
Mixed by the awarded engineer Moogie Canazio, in Woodland Hills, California, this record was mastered by Howie Weinberg, in Los Angeles.
Most of the songs are sweet piano ballads, very organic, with many layers of acoustic guitars, creating a very personal and classic pop dressing. The title song “A Desordem dos Templários” is a mix of north-eastern Brazilian “Baião”, with strong Zabumba percussion, building a very peculiar blend of this folkloric rhythm with a progressive Rock structure, building up a complete suite of many parts, in a total of 7:30 minutes of listening journey.
In the instrumental “Kyrie” Guilherme gave his best to build a Gregorian choir, made of 3 voices in an intricate dialog, merging into a very radical Progressive counterpoints for guitar, organ, clavinet, Minimoog , drums and string orchestra, bringing the same notations used in the baroque strings that open the very first song of this album, El Rastro.
Guilherme Arantes is a sixty-eight years old, Brazilian composer, singer and pianist, with twenty-seven recorded albums along with 47 years of artistic career.
Many songs written by Arantes were recorded by major Brazilian artists, like Roberto Carlos, Maria Bethania, Elis Regina, Caetano Veloso, Gal Costa, Leila Pinheiro, Nando Reis, Paulo Miklos, Fagner, Vanessa da Matta, Céu, and Edu Falaschi.
Since the year two thousand, he has belonged to the Roster of Steinway Artists, the endorsees´ Gallery of the famous piano factory of New York and Hamburg.
Guilherme Arantes composing style is considered a mix of pop, progressive rock, R&B, and much of the Brazilian heritage of bossa nova and “MPB”.
Guilherme has just released a new record called A Desordem dos Templários, with recent compositions written in Avila, Spain, where he has been living since 2019.
During this pandemic period, Guilherme has studied orchestration and baroque music, and those classical influences, besides the Middle-Age atmosphere of the city, have been deeply imprinted on the recorded material.
Name: Anderson Carlos
Email: [email protected]
Phone: +55-(11) 99864-7591