A Luta Continua_prétu Ku Tristany

Relationships don't escape to the uberization of society and, more and more, facilitated by the immediacy and velocity of technology, are dictated by the liberal paradigm of the maximised satisfaction of needs, desire and individual impulse. The propaganda says that, whichever shared, supportive and committed vision of engagement (either romantic or of any other kind) represents an obstacle to our freedom. As in other collective or work ties, the precariousness of love is established. Equal to any other trivial act of consumerism, relationships become ephemeral, immediate, superficial, slight and disposable. Quickly substituted by something new, at the reach of a scroll. Tailored to a personal ambition or dream rather than a mutual work.
People occupy the same place of objects in our lives, therefore, as objects of consumerism, their obsolescence is programmed, making it easier to get new instead of repair.
Body and souls are so exploited and strip-mined in their love relationships as they have been in their labour and leisure ones.

Amor di Uber, the last creation of the project pretu, reflects about the uberization of love, based on xullaji's own experiences.
It features Henrique Silva (Acácia Maior) on the guitar. The visual is a creation of Tchada Elektro and was directed by xullaji, again with Orlando Podence, the artistic collective Peles Negras Máscaras Negras and Ghost Productions.

Amor Di Uber Ku chullage y Henrique Silva

01 Xei Di Kor ku Braima Galissá e Mick Trovoada

WATERS POI KORAJI is the first release of my new project prétu

visuals:
https://youtu.be/O1WhB5TUZgA

Music contains samples from Bakandeza by Princezito and  Speransa 2004 by Vadú (Rest In Power). 

Waters reflects on the exploitation of black bodies in our society; exploring the way they are still treated as cattle and commodities. Either you’re a cleaner, a construction worker, an athlete or an artist - you’re a body and not a life. These disposable bodies can be thrown away, like in the slave ships, killed, or left to drown if they do not fit the purpose of this capitalist and racist society. In other words, Waters studies how culture, sports, construction, leisure, prison and other industries are just the continuation of slavery, and how black bodies are still chained to those industries.

Waters (Pa Nu Poi Koraji) Ku Lowrasta

Latest release from my project prétu
visuals:
https://youtu.be/9Y-Yzrlv1LI

Music contains samples from “Aian, recondacan di Amizadi” the cape verdean singer and iron player António Sanches with Tchota Suari.

fidju maria is dedicated to all black women and black men and it's about rethinking male roles in our community.

Fidju Maria_prétu Ku Dino Santiago

In a recent esquizophónic surge xullaji became prétu an afronaut travelling in a sampledelic dimension. Samples are the portals of time, of intersection in the past, present, future spiral. Waveforms  vibrating in the audible and inaudible spectrum reconnect  fragments of messages absorbed in analogical circuits and retransmitted in ancestral african technology. 
 
Timbres overlapped. At every loop turn, new timbres reveal. New voices. Black voices. There is no note, no scale. There is texture. Frequency. Harmonics full of effects that alter the state of consciousness.
Synthesizers accelerate sonic propulsive particles that allow us to cross black holes between parallel cosmic spaces.
 
Percussion is a time warper that expedites the pathway between tradition and future, in a nonlinear, chaotic way, without any befores and afters, beginning or end. The past rebounds from the future. There is no history, no progress, no time. There is just intuition: the receiver of interstellar messages inside prètu's spaceship.
Words crumble limited realities and stir molecules that open cracks in the multiverse of the quantic possibilities of being.
 
prétu´s visual work is also layering. Images intuited in dreams, hallucinations, remembrances juxtaposing with the present dimension. The so called reality.  Yesterday and tomorrow line up in the tangential event called now, to break the timeline that whiteness call history. Former struggles are yet to come and ancestral myths are future technology.

prétu

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