Cascolatras (Trip/Noise/Intro)
Banda: Cascolatras, 
Estilo: Psypunk, Grunge
Musica: Passa a sacola (trip/noise/intro)

Passa a Sacola (Cascolatras+Obasquiat))

Marty Feldman (demo track)

Ep designed from the idea to seek new sounds (more dirty and heavy) this project was designed on the concept of seeking other and new influences pass through harsh noise, grindcore, stoner, punk.
The project counts on participation of new musicians (giving another sound to the band).
Yet all the tracks have been prepared in improvisation, spontaneous themes and ideas in just a two-hour section in studio, all recorded live!
New directions open new ideas arise always hope that will like the results
All this creative process was carried out with consuming harmful substances and prohibited / legalized this was how this Ep is designed to the world in the middle of an orgy of drugs, noise, rum, marijuana and fraternizing friends!
The basis of this was the active psychotropic much drugs, madness and noise!

Obasquiat:
Bruno Buffon: voice and guitar 
Ton Noise: drums 
Jesus Noise Cremoso: noise effects,vocalization and circuit bend. 
Marco Antonio: bass and voice 
special guest 
Henrique Alves: guitar


Ep elaborado a partir da ideia em buscar novas sonoridades (mais sujas e pesadas) nesse projeto foi elaborado no conceito de buscar outras e novas influencias passam pelo harsh noise, grindcore, stoner,punk. 
O projeto conta com participação de novos músicos (dando outra sonoridade a banda).
Mesmo assim todas as faixas foram elaboradas em improviso,temas e ideias espontâneas  em apenas uma seção de duas horas em estúdio, tudo gravado ao vivo!
Novos rumos se abrem novas ideias sempre surgem espero que venham a gostar do resultado
Todo esse processo criativo foi realizado com o consumo de substancias nocivas e proibidas/legalizadas essa foi a forma como esse Ep foi concebido ao mundo no meio de uma orgia de drogas, barulhos, cachaça,maconha e amigos confraternizando!
A base desse foi o psicotrópico ativo de muita droga,loucura e barulho!


Death Whistle

Baphomet

Экспериментальная музыка

Spontaneous composition devised by Obasquiat and partnership duo Russian  ASTMA (Alexei Borisov and Olga Nosova duo):
https://www.facebook.com/pages/ASTMA-Alexei-Borisov-and-Olga-Nosova-duo/286822864695081?fref=ts

Obasquiat:
https://www.facebook.com/Obasquiat?fref=ts

The rise of bass originally dates back to the fifteenth century. The most famous ancient instrument is the bass of three strings of Domenico Dragonetti (1763 - 1846) made by luthier Gasparo of Salò (1542 - 1609) about a hundred years before. During this period the most common instrument in chamber groups, on bass record (one octave below the lower register), was the violone, the viola da gamba family, instrument slightly larger than the cello, with six strings almost always tuned to arpeggio . But from the eighteenth century, the aforementioned bass Domenico Dragonetti, great virtuoso, popularized the instrument, first in Venice and then elsewhere in Europe. Instrument "hybrid" between the family of violin and viola da gamba had its highlight for having more sound projection which then could better track the growth of orchestras in the classical period (XIX century).

The instrument with the characteristics of today only appears as a regular in all corners of Europe in the late nineteenth century. Four or five strings, with pitch: sun, re, mi and there or sun, re, there, e and b (sometimes another on the fifth string). With more strings the instrument has more pressure on the top, so less sound, but creates more ease in the musical phrasing, beyond the fifth string to go an octave deeper.

The bass is considered today erroneously of the violin family, but their appearance, peculiar construction and musical school was until the twentieth century adaptation to orchestral and chamber music needs. Instrument always changing today introduced variants as Basseto, busseto, electric up-right, off the bass guitar or electric bass that came to replace it with its facilities in the 1950s in popular music groups in general.

The proportions are dissimilar in relation to the violin, and cello, for example, is deeper; the distance of the upper, top, back, bottom, is proportionally much larger than the violin. Many old basses were cut or inclined to help be touched with modern techniques. Prior to these changes, many copies had the breadth of his shoulders more like that of the violin family of instruments.

Violoncello E Timpani XV

Spoiler em português literalmente significa espoliador, ou aquele que pratica espoliação, (spoiler do inglês para aquele que estraga ou aquele que subtrai deteriorando, degradando, dilapidando ou depredando algo). O termo se refere a qualquer fragmento de uma fala, texto, imagem ou vídeo que se encarregue de fazer revelações de fatos importantes, ou mesmo, do próprio desfecho da trama de obras tais como filmes, séries, desenhos animados, animações, conteúdo televisivo, livros e videogames em português brasileiro, videojogos em português de Portugal, que, na maioria das vezes, prejudicam ou arruínam a apreciação de tais obras pela primeira vez.

Spoiler in Portuguese literally means robbed, or one who practices spoliation (spoiler English to one who spoils or one that subtracts deteriorating, degrading, squandering or smashing something). The term refers to any fragment of a speech, text, image or video that is in charge of making important facts revelations, or even the actual outcome of the plot works such as movies, series, cartoons, animations, television content, books and video games in Brazilian Portuguese, video games in Portuguese of Portugal, which, in most cases, damage or ruin the assessment of such works for the first time.

Spoilers

Justus (bass Loop)

Com o intuito de trazer artes paras as ruas o projeto Arte por aí chega a sua 3ª edição levantando uma reflexão social "Somos a mudança que queremos para o mundo" buscando trazer pensamento e ações do que podemos mudar no cotidiano que vivemos, será realizada gravações de depoimentos, além do tradicional Sarau com microfone aberto. 

Banda: Obasquiat
Marco Antonio: baixo
Henrique Alves: guitarra
Alberto Machado: percussão e voz
Deivide "Boo": trombone
Luiz Alberto: escaleta e teclados

data: 15/maio/2015d.C

Verso de abertura do sarau:

"Aqui estão os loucos. Os desajustados. Os rebeldes. Os encrenqueiros. Os que fogem ao padrão. Aqueles que veem as coisas de um jeito diferente. Eles não se adaptam às regras, nem respeitam o status quo. Você pode citá-los ou achá-los desagradáveis, glorificá-los ou desprezá-los. Mas a única coisa que você não pode fazer é ignorá-los. Porque eles mudam as coisas. Eles empurram adiante a raça humana. E enquanto alguns os veem como loucos, nós os vemos como gênios. Porque as pessoas que são loucas o bastante para pensarem que podem mudar o mundo são as únicas que realmente podem fazê-lo." | Jack Kerouac.



“Here’s to the crazy ones.  (Obasquiat plays jack kerouac poems)

Experiment with cello and delay
preview of next ep
Ideas in the air ... The pandemonium this next

Cello

accidental improvisation recorded at home in a rustic way

Improvisação acidental gravada em casa de forma rústica

Scrophulariaceae (improvisation On Acoustic Bass )

Band: Obasquiat:
Jeferson Peres/vocals: guitars
Ng Beeswas: drums
Marco Antônio: bass

In any day somewhere in this vast planet that we call earth (where in fact more than 80% consisted of water) a sound echoes from the beginning of the 90s a cry of freedom and revolt, was considered the voice of a Generation (even against their will) roots of the underground, with the DIY filters of 70's punk.
Nirvana was an American rock band formed by vocalist and guitarist Kurt Cobain and bassist Krist Novoselic in Aberdeen in 1987 [1], who broke through the grunge movement of Seattle in the early 1990s. Several drummers went through Nirvana , Which was the longest in the band was Dave Grohl, who entered in 1990.
In the late 1980s Nirvana established itself as part of Seattle's grunge scene, releasing their first album, Bleach, for the independent record label Sub Pop in 1989. The band eventually came to develop a sound that was based on dynamic contrasts, often Between quiet and noisy verses, and heavy choruses.
I present to you our simple homage to a band that until today (2017) still influences us and causes shivers to hear the first chords!
Recorded material of rustic form this bootleg has the essence and the spirit that only in this way it was possible to capture all distortion and energy equal to what the band originally had in its live performances
I hope you like the result
Listen at maximum volume!

Come As You Are (Nirvana Cover)

Aneurysm (Nirvana Cover)

Intro

Band: Obasquiat
Larissa Gonçalves: vocals and poetry
Jeferson Peres: programming and guitars
Marco Antonio: mix

Quem vive nos países do Ocidente pode pensar que o beijo na boca é um comportamento humano universal mas menos da metade das culturas do mundo adota o gesto. Beijar também é extremamente raro entre os bichos.
De onde vem o beijo, então? Se é algo útil, por que não é adotado por todos os humanos e outros animais?
Muitas sociedades que se baseiam na caça não demonstraram interesse em beijar, e algumas até consideram o ato repugnante. A tribo dos Meinacos, que vive no Xingu, teria se referido ao ato como "nojento". Como esses grupos são os que possuem um estilo de vida mais próximo do de nossos ancestrais, é possível imaginar que o beijo tenha sido uma invenção recente.
O sinal mais antigo de um comportamento parecido com o beijo vem de textos em sânscrito védico hindu de mais de 3,5 mil anos atrás. Neles, beijar é descrito como "aspirar a alma um do outro".
Por outro lado, hieróglifos egípcios retratam pessoas perto umas das outras, mas não com seus lábios colados.
Será, então, que o beijo é algo natural que algumas culturas reprimiram?

................................................................

Those who live in the countries of the West may think that kissing in the mouth is a universal human behavior but less than half the world's cultures adopt the gesture. Kissing is also extremely rare among bugs.
Where does the kiss come from, then? If it is something useful, why is it not adopted by all humans and other animals?
Many societies based on hunting have shown no interest in kissing, and some even consider the act disgusting. The Meinacos tribe, who lives in the Xingu, would have referred to the act as "disgusting." As these groups are the ones who have a lifestyle closer to that of our ancestors, it is possible to imagine that the kiss was a recent invention.
The earliest sign of kiss-like behavior comes from Hindu Vedic Sanskrit texts more than 3,500 years ago. In them, kissing is described as "sucking each other's soul".
On the other hand, Egyptian hieroglyphs portray people close to each other, but not with their lips glued.
Is it, then, that the kiss is something natural that some cultures have repressed?

Single

Beijo

Performed: 
Obasquiat
...............................................................
lyrics:
Caffeine

Pour shame all over us 
Harden into a crust 
Cement 
Forget the glamor and 
Mumble a jackhammer 
Under your breath 
Hide your face in the curtains 
Better unsaid, so close 
And it rolls off the tongue 
Almost! 
The world expects the pose 
Perfectly natural 
Loosen up 
Smearing wet concrete 
And swearing you'll never be 
Caught 
At your weakest, etched in stone 
And we're frozen here, peeking 
Almost, sweet talk, caffeine 
Make contact 
Up to my neck 
I confess in quicksand 
"But it's so easy for you" 
"There's always one thing" 
"Do you have something to tell me?" 
"Say something" 
"Anything" 
I'm warning you 
I'm warning you 
I'm fucking you 
I'm warning you 
"Relax" 
"It's just a phase" 
"You'll grow out of it" 
Believe anything anyone ever tells you 
It's not funny anymore 
It's thing you hate the most 
The thing you hate the most 
The thing you hate ALMOST 
..................................................
credits
Faith No More
words and music: FNM 
................................................

Obasquiat:
drmus: Carlos Eduardo 
voice: Thyago Oliveira 
guitar and voice: Dennis Ortega 
bass: Marco Antônio 
.................................................. 

Este áudio faz parte da coleção Sunyatha Records netlabel: 
https://various18.bandcamp.com 

Obasquiat: 
https://obasquiatofficial.bandcamp.com

Obasquiat (Facebook Page): 
https://www.facebook.com/Obasquiat/ 

Obasquiat (Instagram): 
https://www.instagram.com/obasquiat_official/ 

Obasquiat (ExperimentalVideos): 
https://www.youtube.com/channel/UC1Z5EcJDvzng9wVVLrS8gKA

Obasquiat (Spotify): 
https://open.spotify.com/artist/0xUySRlNkQ3wkEO3WxeEiO
.........................................

Playful Working

Caffeine

Bio:
"Extensão auditiva de captação melódica":
Extensão das veias do mundo das idéias, projeto introspectivo.
Obasquiat tem a proposta também, de manter um contato mais intimo com a poesia e a prosa (literatura em geral).
Influenciado inicialmente pela música experimental e noise o projeto agora abrange uma nova fronteira, seguindo para bases e improvisações mais na linha Free Jazz.
Essa direção inusitada foi pela simples forma, ideia de manter mais contato com as raízes do Jazz afro-americano e sem deixar de lado os ritmos brasileiros enraizado na áfrica.
Esse projeto busca mais o conceito da musica atonal (Em sentido mais restrito, musica atonal é aquela que não se conforma com o sistema de hierarquias que caracterizam a música tonal clássica européia).
As explorações de novas sonoridades no instrumento também fazem parte desses “desconcertos de idéias” fora convencional que foge totalmente da métrica para alguns músicos.
Sem se esquecer também do barulho, descompromisso com conceitos pré estabelecidos, criatividade na expressão, registros rústicos de primeiro take, poesia.
Musica é você quem faz!
O trabalho também engloba muita imagem, sons, percepção...
Com a produção de vídeos e artes que buscam mais a influencia do surrealista e minimalismo.
O conceito vem no seguinte: ampliar idéias, buscar novas mesclas.
A oportunidade de explorar novos campos artísticos.
E essa foi a "formula" para manter a cadencia em estimulo.


Bio:
" Extension auditory capture melodic ":
Extension of the veins of the world of ideas , design introspective. Obasquiat has proposed also to maintain a more intimate contact with the poetry and prose ( literature in general ).
Influenced initially by experimental music and noise the project now abrenge new borders following bases for improvisation and more on line Free Jazz .This direction was unusual for the simple way, the idea of ​​keeping more contact with the roots of jazz and african - american without forgetting Brazilian rhythms rooted in Africa .
This project seeks to further the concept of atonal music ( In a narrower sense, atonal music is one that does not conform to the system of hierarchies that characterized classical European tonal music ) .
The explorations of new sounds on the instrument are also part of these " desconcertos of ideas " that runs completely outside conventional metrics for some musicians .
Not forgetting also the noise , lack of commitment to pre-established concepts , creativity, expression , rustic logs first take poetry.
Music is what you make !
The work also includes lots of images , sounds , perception ...
With video production and arts that seek to influence the more surreal and minimalism .
The concept comes from the following expand ideas , seek new blends .The opportunity to explore new ground .And that was the "formula " to keep the cadence in stimulus .

Obasquiat03

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