• style(s):
    • World
  • label:Piranha Records

If you are looking for hip shakin’, hands-in-the-air party music, this is not for you. Noir, an established genre for film and literature, darkly illuminates life’s brooding, melancholic landscapes. Piranha’s série noir transfers this ambiance into imaginary soundtracks, stepping up from the blues, with an inevitable herzschmerz to follow.

Picking up the Film Noir image gone household term, Piranha’s Série Noir aims for the moody. The sentimental. Melancholy. Even the broody. When too much uptempo dancefloor BalkanBeats, Fanfare Ciocarlia or Watcha Clan had you on your feet for too long, it might be time for a little recollecting, listening to your inner self, drifting away for a change.


Life is not just a piece of pie all the time! It has its darker sides too. Moments of heartbreak and lament. Sadness. Troubles of all kind. Portuguese saudade – the typical kind of weltschmerz of the lusophone language and culture area – is all about those kinds of things: the loss of freedom, belongings, loved ones, even life. Specifically strengthened in Portugal’s African colonies probably even as a reaction to the Portuguese 500 years of conquering, after the collapse of the colonial empire from 1960 to the Seventies it not only remained, not only as a musical genre but as an approach to life, a unifying cultural legacy which has not only survived, but thrived.

With eleven major voices from Angola, Cape Verde and Mozambique, Luso Noir exemplarily aims a spot on how the saudade reflects in music so beautifully and successfully. And can thus also serve as an example for its companions among the Série Noir – Egypt Noir, Orient Noir, Brass Noir and Latin Noir.

While not being as clearly focused as Luso Noir with its different, yet akin musical expressions of the saudade, the vibration of the complementing Noir releases is similar. Thus resulting in a homogenous series with specific geographic and or – as is the case with Brass Noir – stylistic themes each. And so is the effect of creating geographically, or in the case of Brass Noir a stylistically specific kinds of moody moods.

There is a characteristically Orient, even characteristically Egypt melancholy. There is a typically Balkan Brass kind of sentimentality – even when contributed from beyond. And there certainly is an unmistakably Latin emotionality, both in lust and trouble.

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