SOLO

Cello & Voice  

My solo project revolves around creating impressionist and experimental songs, aligned by the hypnotic cello. They are revealed in layers of light upon which a dreamy voice suspends. I incorporate various elements into my music, including folk, electronic and avant-garde influences, creating atmospheric soundscapes through the use of looping techniques and blending acoustic and electronic sounds. The compositions often feature intricate melodies, layered vocals and unconventional song structures. My music is often described as experimental and genre-defying.

Here are some selected press considerations:

“How many possibilities are there for this instrument associated with classical music? As many as they are and can be explored by this Lisbon cellist edited by Revolve. Joana Guerra uses the instrument as a vehicle for experimentation. It is a sound experience that gains added value with visual performance. (…) She uses a kazoo, fused with the sound of strings, using voice lines in Portuguese, sometimes in French or English, and with a remarkable vocal amplitude, transporting us to a universe guarded by geniuses such as Diamanda Galás or even a Jarboe.” André Vieira in Publico, 15.04.2018

“… Joana Guerra’s approach to the cello ranges from greater experimentalism (sometimes rougher – visceral, chthonic –, sometimes centered on delicate debtor notes to contemporary written music) to an avowedly groovy facet (somewhere between rock, pop and folk), not forgetting the classic technique; additionally, she often uses loops and some additional electronics to superimpose multiple layers of sound (for example, introducing a certain repetitive motif in pizzicato, which she then recorded and left to sound, complementing it with the bow and her voice). The songs that followed, based on this type of resources, varied between introspection (mysterious, intimate) and expansiveness (when it did, Joana Guerra was able to truly fill the stage with the force of her presence). Ending with a kind of intense mantra, this excellent performance made very clear the potential of an artist we can’t ‘lose ear of’.” João Esteves da Silva in Jazz.pt

INTERVIEW

BANDCAMP

SOUNDCLOUD

Chão Vermelho
2020 – Miasmah Recordings
listen

OsSo
2018 – Armures Provisoires
listen

Cavalos Vapor
2016 – Revolve
listen

Gralha
2013 – Discos Monstro de Gila
listen

BANDE À PART

Joana Guerra – Cello, Carlos Godinho – Objects and Percussion, Ricardo Ribeiro – Soprano and Bass Clarinet

Bande à Part, from Lisbon, was born in 2013. After numerous live experiences, the first album, Caixa-Prego, was released in November 2014 through the label Creative Sources. With recognized critics in the jazz and improvised music scenes, this album was considered a “beautiful surprise”. The result is an intimate and quiet music being at the same time intense and surprising. The group’s interaction explores the territories of texture and ambience, thus creating free compositions with elegance.

“Mutual knowledge, complex and changing roles, clearly defined between the three musicians, making this one of the most solid and interesting projects of the current portuguese scene of improvised music.” Bernardo Álvares in Jazz.pt

CORNELIUS CARDEW TREATISE

The Cornelius Cardew inspired ensemble “Tratado de Cardew”: Bernardo Álvares – doublebass, Aude Barrio – electric doublebass, Joana Guerra – cello, Miguel Mira – cello, Nuno Morão – percussion, Carlos Godinho – percussion, João Silva – percussion, electronic, Paulo Raposo – electronic, monotron, “accordion”, Meste André – electronic, Rui Miguel – electronic, synthetizer, Daniela Silvestre – electro-acoustic set, Yaw Tembe – trumpet, Nuno Torres – alto sax

Treatise by Cornelius Cardew, considered the “Mount Everest” of graphic scores, is an inspiring landmark in demand for new forms and sound languages. It consists of 193 pages combining a huge set of graphic elements that form a long visual composition.
Cardew doesn’t give specifications or definite instructions on how to implement the Treatise. It’s set up as an open landscape to any number of musicians and instruments (acoustic, analog or digital). Encouraging improvisation, it suggests that the interpreters themselves define a priori their own game rules.

This ensemble has performed at National Pantheon in Lisbon, Galeria Zé dos Bois, Salão Brazil, CRA, Casa dos Amigos do Minho, St. George’s Church, Sociedade Guilherme Cossoul.

WEBSITE