João Carvalho has released his debut solo album, Uma Festa no Centro do Vazio (A Party at the Center of the Void), his first collection of songs under his own name since the pandemic.
Previously known for experimental work under the moniker Sentidor and as a member of bands El Toro Fuerte and the electronic alt-pop act Rio Sem Nome, Carvalho now steps forward with a project rooted in personal journeys and Brazilian musical traditions.
A Title Inspired by Poetry
The album’s title paraphrases a verse by Argentine poet Roberto Juarroz:
“Sometimes it seems like we’re at the center of the party / However, at the center of the party there is no one/ at the center of the party there is the void/ But at the center of the void, there is another party.”
Roots in the Countryside
The project emerged from a series of journeys through south-eastern Brazil, where Carvalho worked with riverside communities and traditional peoples impacted by large mining operations in Minas Gerais and Espírito Santo. It also draws on a deep immersion into the imaginary elements of creation myths.
Themes of pain and pleasure, death and life, chaos and organization are interwoven with the histories of the places where the album was composed. One such location is the village of Itaúnas, on the border between Bahia and Espírito Santo, where the original settlement now lies buried beneath sand dunes after a slow geological process intensified by human activity.
Production and Collaborators
Produced in collaboration with Bernardo Bauer (MOONS, Desastros) and Felipe D’Angelo (Moons, Lô Borges) at Estúdio Cais, the album features a wide range of contributors:
- Fernando Motta
- Fábio de Carvalho, who shares vocals and guitars with João in El Toro Fuerte
- Clara Bicho
- Ciro Trevisan (Lovestain, Pequeno Céu)
- Jovana Trifonovic (Minas Gerais Philharmonic Orchestra)
Influences and Sound
The album ventures into a deep exploration of acoustic guitars and Brazilian songwriting traditions, with an abundance of rock and alternative folk influences. The presence of Felipe D’Angelo, who has served as pianist for Lô Borges in recent years, underscores the impact of Borges and Milton Nascimento on the work. These influences dialogue with spiritual jazz from acts like Metá Metá and Alice Coltrane, as well as Brazilian classics such as Tom Jobim and Los Hermanos.
