Pedra Branca are bringing their Brazilian experimental ethno-electronic live band perfomance to the 2019 Ozorian Dragon Nest. Here’s a bit about them through the eyes and words of band leader, Luciano Sallun. Also, listen to the exclusive mix they made for radiOzora.

– What were some of the events or experiences that set you off on this journey?

Pedra Branca was born in 2001, and what inspired it the most was not an event, but a search for connection, an ethnomusicological research, a rhizomatic philosophy, a strong harmony with the idea that wealth is in freedom, diversity, multiculturality.

I studied ethnomusicology for some years, music therapy that I am trained for. I began to study sitar, oud, samisen, saz and produce electronic music, which in Brazil at the turn of the century was something very unusual. These researches all gave me a new possibility of understanding music and culture, in that sense I also understood Brazil more, and perhaps one of the main concepts is the “Feijoada Polifônica”. 

– What is the meaning behind your project name? 

Pedra Branca is an entity. This entity is known in Umbanda rituals. Umbanda is the only Brazilian religion, and it has African influence. Pedra Branca is a healing warrior, his biggest meaning for me is to take an art where it can show people how to feel better, that they can dance, listen, and allow themselves to be sensitive. 

– Who have your greatest teachers been, your greatest inspirations? Who has had the greatest influence on your music?

There are many, but we will try something remarkable. Codona, the project of the best Brazilian percussionist called Naná Vasconcelos, together with an American jazz player and a European sitarist. Other masters are Dead Can Dance, perhaps the most important project in world music. Miles Davis album India, Philip Glass & Ravi Shankar, Stephan Kent, Rabih Abou Khalil, Ananda Shankar, Kocani Orchestra.

In electronic music at the end of the 90s it was Sphongle that already had some albums, and other projects like Bonobo, Kruder & Dorfmeister, Tosca, Ott, Solar Fields, Cinematic Orquestra, Star Sound Orchestra, Vlastur. Then other projects that I like began to appear, like Kaya Project and Kalya Scintilla.

– How has your sound, your taste in music developed throughout the years?

I went to study sitar in India, baglama in Turkey, oud in Morocco, and then learned more about production in e-music. Also I’ve always liked the fusion of organic and electronic music, in my opinion, this is a perfect balance of weight with musicality, among other things. So over time I developed this fusion of a live band synchronized with drums, bass, acoustic instruments and electronic music, but the challenge came naturally to me.

– Which one of your releases/tracks are the most characteristic of your sounds or stand the closest to you for some reason?

Hard to say, since the sound is very hybrid and I can’t say exactly because it does not exist, but the last two DNA albums (2014) and Religare (2018) released by Merkaba represents us as a whole quite well. Maybe Freaks, Sophia, Ozu, Mundo, Skopo… it’s difficult to say.

– What projects are you involved in?

Besides Pedra Branca, I have another project with Global Koma, with 2 years of existence. I also have a project called GEM, where we create recycled instruments and sound installations. And solo album production balkan beats, gypsy style.

– Most memorable gigs, experiences?

Boom Festival 2006 and 2008 Portugal,
Universo Paralello Festival 2003 to 2017 Bahia-Brazil,
Tribal Tech 2009 Curitiba-Brazil,
Mexico City Theater 2010,
Circo Voador 2010 Rio de Janeiro-Brazil,
Festival Mundo de Oz 2015 Brazil,
Psicodalia Festival 2014 and 2018 Santa Catarina-Brazil,
Le Berges Festival 2014 Paris-France,
National Museum of Brazil 2018 Brasilia-Brazil.
And countless others ….

– What are some of the greatest challenges you faced so far as an artist or producer? How about the moments that you felt were the greatest rewards so far?

Good question, many challenges, to make art hybrid, with millenary instruments, along with electronic music, synchronized live band, something out of a fixed scene. Perhaps these challenges also made a difference. The rewards are always when we can play in places, multicultural events and festivals, such as those described in the question above, and with Ozora Festival. But perhaps the greatest of all is when the public enjoyed it live, danced, entered the music and energy. 

– Musically speaking what’s still on your bucket list? 

I wish to have more projects with live bands and Pedra Branca to be present at more festivals in Europe, and with Ozora many more years.

– What are you working on at present? What are you looking forward to the most?

I’m currently working on my solo production album, without many instruments, and it’s fine gypsy, balkan beats with bass chillout psydub, and I’m working to finish it soon. I’m also starting some new Pedra Branca productions for an EP, and finalizing another EP with the parallel project Global Koma.

– What do you think about psychedelic festivals and their role in our lives, if any:)?

Yes, it is a life, playing on chillout and alternative stages at parties and festivals since 2001. In my opinion, psychedelic festivals are a key to paradigm and freedom. 

– Have you been at OZORA before? If yes, what are your expectations for this year? If not, what are you looking forward to the most?

I have not been yet, but imagine that since the beginning of Ozora I have been following it from here afar in Brazil, year after year. I’ve always wanted to go and play, it really is very special. 

– Are you preparing anything extra for your performance at OZORA?

We’re preparing the show of our sixth and last album ‘Religare’ released on Merkaba Music, some of the previous albums and some unpublished tracks. The live band also counts on the dance performances.

Photo by Rodrigo Rosa