" '11' is Pedro Magina’s fourth solo album and his first to make heavier use of vocals, following on several years of exclusively instrumental excursions; experimental synth work with a New Age tinge.
If you drop into the album at random, you’ll hear an understated synth-pop album with a distinctly Portuguese, even Iberian, flavor — but there’s a sweep and shared focus to these tracks that sounds wholly new. '11' is about involvement, though the tilt in that direction may contrast with older releases that were exciting for their imaginative sense of detachment. For Magina, the scale here is a reflection of his status as a young father, in between realities, and as an artist with choices.
The same sense of whimsy and diverse production that animates his older releases still draws the listener in, but there’s no simple roving between topics, and few straight lines between up and down. For much of '11', emotions hang on the voice; “Hold My Hand Now” is confident and breezy until Pedro’s voice draws it upward into one of the album’s most memorable crescendos, while a distressed vocal sample and somber keys in “Ponta Do Sol” make the track feel almost scary or at least discomfiting. Others balance the new vocal element against Pedro’s keys, like “Valentina” or “On Our Way Back Home,” where synth and voice share a trajectory"
"The entirety of one’s self when put into a work of art, in unabashed form, has maybe become commonly misplaced in contemporary society. The perspective of one’s life as a (reality) show, albeit a private one, has turned into something aestheticized to the point of it become a very superficial experience (- not that there’s anything absolutely wrong with that). The emotional output required to be brutally sincere, grotesquely honest, demands a type of ancient bravery. A modus operandi which, if need be, is always against all odds, servicing love and love only. Clearly this is much simpler for us, people of Southern Europe, than for many others in the Northern Hemisphere.
’11’ is the work of Pedro Magina. Pedro is a traveller of the inner and outer European Atlantic and the Mediterranean, having traversed between suburban North Portugal, rural Northwest Portugal, Lisbon and Barcelona. Because he’s had to. Because that’s the way it’s been, and because that’s the way it is.
In his work you can find traces of similar Southern European natives and recent acquisitions of this cultural landscape of ours; from the epic song forms and orchestrations of Franco Battiato, as well as the influence of Panda Bear (Noah Lennox), a US expat who’s landed in Lisbon and has become part of its ghost streets and alleyways.
His songs (which is what they are) are a brutally honest show of Pedro’s visions; a grand spectacle of the dignified existence he’s done his very best to conjure. ‘Bladerunner’ suddenly has a happy ending; McCartney loves OPN; kösmische music of the German 70s has rediscovered it’s hi-fi qualities through Porto’s positive obsession with correctness (nevermind the lo-fi); the waters of the South have suddenly all become rivers, created by an idealistic exile, which has very much become his reality. He’s with the person he loves (she’s in here), they’re with a new person they both adore (he’s also here); and, maybe more so than anything - and with everything Pedro has always done - is not only the desire, but the existential manifestation of making a set of life’s circumstances, borne out of dedication and passion, something truly worth singing about and playing for.
’11’, as it is, is the testament of a true sailor, whose emotional and ethical transparency shines throughout mercurial synths, pop melodies, Iberian sunsets and sunrises, hard work, and the dream of dreams - the chance, and reality, of happiness. In post-modernity, authenticity always returns as the most valuable of currencies. Here’s a testament to believing, and to making it happen. ’11’."
"... It is in his forays into solo work however in which Magina lets his imagination and creativity flow freely, and with his fourth solo release, the seemingly boundless scale of his talents are on full show...Released via Crash Symbols and Ruralfaune’s new pop imprint, Maison Cannibale, ‘11′ shares a bolder, more expansive sound than his previous works. The compositions are more expressive and fall upon a grander scale, and the often complex layers of smooth synth melodies are almost instantly entrancing. From the first anthemic tones of album opener ‘Exception’ it is clear that Magina has disposed of all known boundaries and strode confidently into a growing world of diversity and experimentation.
Tracks such as ‘Balance’ and ‘Hold My Hand Now’ unfold with breezy, digital tones and swift, flowing percussion, and there is far greater space given for the vocals than ever before. Constantly transitioning between upbeat pop tempos and sparse ambient arrangements, the album manages to seamlessly blend the Portuguese inspired overtones of ‘Valentine’ with cascading, synth strokes in ‘House Swim’; a testament to the brilliance so inherent within the album.
With a plethora of unrelenting, deeply involving tracks present on the album, it is no wonder that Magina’s work so often garners praise. From the first blossoming tones to the final mesmerizing notes ‘On Our Way Back Home’, the album never really leaves pause for thought. Instead, it is an album driven on feeling and expression that fires directly into the heart. Daring in all the right ways, ‘11′ is the true culmination of years spent refining talent and perfecting skill. Rating: 9 out of 10"
"Sobrement intitulé 11 et enregistré par le portugais d’origine dans un studio de la capitale de la Catalogne au moment où Panda Bear et des mecs de Tropa Macaca et Gala Drop y traînaient (lire), ce nouvel LP se trouve co-édité depuis le 23 juin dernier par les labels Crash Symbols et Maison Cannibale – récente division de Ruralfaune. Tout aussi hypnotique et magnétique que son prédécesseur, 11 creuse un même sillon ambient trippé en instiguant cependant quelque chose de nouveau dans les digressions propres au manitou Magina, à savoir, l’utilisation des voix dans le corps de ses pérégrinations synthétiques à la lisière d’un New Age solaire..."
"This is his 4th LP, 11, out now on vinyl from West Virginia’s Crash Symbols. I can’t attest to how it holds up with previous work, but it’s a pretty sweet trip through some electronica and synth-wave compositions.
Throughout 11, Magina uses several main elements to bring his tracks together: vocals, synthesizers and percussion. The vocals are very soothing and atmospheric; Pedro’s voice never seems to miss a note, and it’s always a joy to hear when it appears. The synthesizers are quite lush and show a lot of color throughout the album. Whether it’s quick and snappy sequences or bright sound pads, Magina pulls them off very well. The percussion is usually pretty minimal. Usually the synthesizers are playing the much faster notes as opposed to inserting a 16th note high hat or fast kick drum. And honestly, I kind of enjoy that. They’re still well put together and the minimalistic approach allows for more focus on the synths. On several tracks, we also get some very bright piano (electric and acoustic) and organ as well. While these elements weren’t used as much as the synths, they’re still a welcome addition to Pedro’s sonic palette. All these things combine together to form some very atmospheric and smooth electronic tracks. I really love the textures and emotional quality of “Ponta Do Sol”; the fantastic guitar solo, blaring synths, and louder percussion give it a very epic feel. “Hold My Hand Now” has a tight groove that really feels used to its fullest extent, and fittingly it’s the longest track on here. The string samples and vocals towards the end are quite beautiful, if I do say so myself. “Exception” feels like a vintage piece of synth-pop, and maybe could have been straight out of a movie from the 80′s. While that might not be for everyone, I definitely enjoyed it. The minimal compositon on “Balance” gives way to a lot of repetition (in a good way) and a very smooth atmosphere. By the time Pedro’s voice come in, it has long been club-ready. The warped and eerie synths on “Valentina” are really distinctive, and give it a unique feel among the other tracks on the album. The sequenced melody and chords, in combination with the vocals, come together to make a soulful electronic tune. The album ends very effectively with the slow-building “On Our Way Back Home”. Pedro’s voice is rather droning and meditative, along with some of the synths. It works as an effectively emotive finish.
On this record, Pedro Magina comes through with 8 tracks of very smooth electronica made up of synthetic atmospheres, soulful vocals, and minimal percussion that all comes all comes together to make a very cohesive and solid listen. Whether it’s slow and meditative or epic and fast, the music is always well put together and sounds excellent. I’d definitely recommend checking this one out."
Another fantastic release from the mighty Sahel Sounds label, this soundtrack turns desert blues into exploratory ambient soundscapes. Bandcamp New & Notable Nov 3, 2018
