In the distant future, the world of the eternal present is inhabited by bio-mechanical-digital-electronic beings. But one of these beings does not believe that it has always been like this and sets out on a journey of discovery in 3 stages. Such stages are made up of moving paintings, images corroded by the glitch and 2D and 3D animation, intertwined by narrator-poets and music, in a sci-fi object combining subversion, adventure and childishness.
Memories of the end of time, or an account of a time in collapse? Both, we venture to say. The voice we hear is that of Bernardo Devlin; the music and lyrics are by Jorge Ferraz. The former was a member of Osso Exótico, a leading name in Portuguese experimental music, and, as a solo artist, a cult figure with an already extensive discography. The latter, as leader of Santa Maria and Gasolina Em Teu Ventre, authors of Free-Terminator (1989), left a significant mark on Portuguese exploratory rock.
Also a member of the short-lived João Peste & O Acidoxibordel, Ferraz carries on his musical exploration at the intersection of electric, electronic and poetic sounds, both as a solo artist and with the multimedia collective Cellarius Noisy Machinae. It is from this collective that Vintage Glitch emerges. It is science fiction for our present days, a dystopian reflection set against the digital dioramas of Carlos M. Ferreira. The soundscapes provide the backdrop and the words, caught between the memory of what was and the unsustainable instability of the present, act as a guide through the fragmented reality that Ferraz and the collective present before us. (Mário Lopes)
