In this interview, Paula Teles reflects on EntreParedes, blending fado and metal, honoring Carlos Paredes, Portuguese identity, resistance, and emotional freedom while breaking walls between tradition, history, and modern expression.
1. EntreParedes feels deeply symbolic and layered. What does
the title represent for you on a personal and artistic level?
This title,
besides being a tribute to one of the musicians who inspires us (Carlos
Paredes), is also a manifesto of freedom, both individual and collective. EntreParedes
represents all the walls that limit us, whether real or imagined, and that we
must break down.
2. This album celebrates the centenary
of Carlos Paredes. How did his legacy influence your songwriting, arrangements,
or emotional approach on these seven tracks?
Carlos
Paredes was a musician who managed to go beyond all the rules surrounding the
Portuguese guitar. He was a visionary and a musician who was not afraid to take
risks. We like to follow that same principle in our own music: to take risks
without fear.
3. Fado
and metal come from very different worlds. How do you balance the intimacy of
fado with the power and intensity of metal without losing the soul of either?
Although
they emerge from different origins and take distinct forms, both are
expressions of human communication and emotion. Just as every human being is
unique yet bound by shared points of connection, the same is true of musical
styles. Between fado and metal there is a common thread, and it is this thread
that we seek to reveal and explore, allowing differences not to sound
dissonant, but to be understood as necessary and meaningful.
4. The
single “II Acto” is dedicated to the Carnation Revolution. Why was it
important for you to address this historical moment through music now?
I believe
this is not happening only in Portugal, but I feel that here certain values we
once considered clear and firmly established are beginning to fade. I never
imagined it would be necessary to remind people of how important the
achievements of the Carnation Revolution were, or of how high a price was paid
for the existence of authoritarian leaders. Although this is a very recent
chapter in our history, here we are, trying to remember — so that no one
forgets.
5. Do
you see EntreParedes as a
political album, a cultural tribute, or more of an emotional and introspective
work—or all of these at once?
I would
like this entire project to be a cultural tribute, even though that may be an
overly difficult goal to achieve: we are unknown musicians, free and
independent, and we cannot reach as far as we would like. EntreParedes
grows out of this desire to never forget where we come from; we may travel the
world, but our roots remain firm and continue to shape who we are. More than a
political manifesto, this album is a collective call.
6. Your
vocals move between vulnerability and strength throughout the album. How do you
prepare emotionally to deliver such charged performances?
That is a good question. As I sing in Portuguese, I try not to let the language become a barrier to our work reaching audiences beyond our country. Since words are nothing without intention, I try to express, through my voice, what I feel when I write the lyrics. In the end, I use vocal dynamics as a form of communication. I hope it works ?
7. Compared
to your previous releases, in what ways do you feel you have evolved as an
artist on EntreParedes?
EntreParedes is a far more technical album than
its predecessor. From a vocal standpoint, I set out to explore techniques I had
never used before, gradually reclaiming my chest voice, which had been left
aside due to my training in classical music. Yet above all, this album taught
me that music is far too rich and expansive to be confined to a single genre or
a single concept
8. The
album carries a strong sense of Portuguese identity. How important is it for
you to preserve and reinterpret national heritage in a modern metal context?
Portugal is
a country rich in history, shaped by deep influences and curious traditions. I
was born (and still live) in a part of the country where women sang while
working in the fields, where the rhythm of the music set the pace of labour,
and where, on Sundays, people gathered in the churchyard to sing and dance.
Music runs through Portugal’s veins. I hope that those who listen to me are
able to feel it. Regardless
of musical genre — whether metal or fado — music will always be a reason for
unity and celebration, never the opposite.
9. How has the audience reaction been
so far to “II Acto,” especially from listeners who may not usually listen to
fado or metal?
Most of our
audience comes from the metal scene. Interestingly, we have never received
feedback from listeners connected to fado. Those who do not identify with
either style often say that our music may feel unfamiliar at first, but soon
finds its way in. We are fully aware that it is a risk to “play” with two
genres that are so acclaimed and well defined. But life is far too short to
always walk the same path.
10. With EntreParedes now out, what comes
next for Paula Teles—more live shows, international plans, or perhaps new
musical directions to explore?
We are
currently in the studio recording a new album, we have a few concerts scheduled
for this year, and we continue to try to reach as many people as possible.
Above all, we will keep experimenting with new ideas and enjoying ourselves
while making music.
Post a Comment