- This recording took place at your own space, RÁDIO CULTURA coffee and gallery. How did it feel doing it there?
I felt that the mood of this music was better suited to the night rather than the daytime, and to a seated setting rather than a standing one.
With that in mind, we decided to shoot in a different kind of environment than usual.
I think we were able to capture something that resonates with the atmosphere of the label.
- Could you share the thoughts and ideas behind this mix?
I wanted to do something that not many people had done before, so I decided to make this a Carmo-only mix. ECM has been getting a lot of attention lately, and there are plenty of events centered around it, but you rarely see something focused exclusively on Carmo, one of ECM's affiliated labels. It's actually something I'd been wanting to do for a few years. When the opportunity to record this session came up, I thought it would be the perfect chance to finally make it happen.
- What kind of label is Carmo?
Carmo is a label founded by the Brazilian guitarist, pianist, and producer Egberto Gismonti. As it was his own imprint, he was often directly involved in the productions and performances released on the label. While the sound varies depending on the era, I think the overall aesthetic becomes clear once you listen to this set. Anyone who enjoys labels like ECM will definitely find something to connect with here. Personally, what I find most appealing is its sense of avant-garde exploration that remains just within reach—experimental, but never alienating.
- Do you remember what first made you aware of the label Carmo?
What first drew my attention to the label was its visual presentation—the embossed sleeves, distinctive artwork, and overall design aesthetic. Those design elements really stood out to me and were what initially made me take notice of the label.
- Did you prepare the DJ setlist in advance today?
To be honest, I didn’t think about it too much beforehand. The label already has such a strong identity and clear musical direction that I felt pretty confident that whatever I chose to play would fit naturally within its world.
So rather than planning everything in detail, I only had a rough flow in mind. From there, I played records I personally love and made decisions spontaneously in the moment.
One thing I was conscious of, though, was letting the character of the label come through. To do that, I tried not to cut tracks short and instead let each record play out as fully as possible whenever I could.
- Among the records you played today, were there any tracks you were especially excited to play or particularly wanted to introduce to the audience?
First, there’s the 1983 self-titled album by Luiz Eça, the keyboardist of Tamba Trio. I like it so much that I ended up playing three tracks from it today.
Luiz Eça was an incredibly versatile musician who released music on a variety of labels from the 1960s onward. This particular album on Carmo offers a different side of him from what people might know through Tamba Trio. It also features Robertinho Silva—whose music I played at the beginning of the set—on percussion and drums, which is another reason I’m especially fond of it.
Another favorite is Barracas Barrocas by Fernando Falcão. His music has a distinctly atmospheric, almost ambient quality, and he’s highly regarded for that aspect of his work as well.
He may actually be better known for another album, Memória Das Águas, released on a different label and recognizable by its black cover. That record is probably the one most people associate with his name, but Barracas Barrocas is equally fascinating in its own way.
- Are Carmo records difficult to find these days?
It’s definitely becoming more difficult to find these records than it used to be, but I wouldn’t say the prices have become completely unreasonable. Most of them are still within reach if you’re willing to look around, so I think there’s still plenty of room for collectors to explore.
One of the distinctive features of Carmo releases is their cover design. Almost every LP has an embossed rectangular frame on the front cover, which makes them instantly recognizable. It serves as a kind of visual signature for the label.
That attention to detail is part of what makes collecting them so enjoyable. Beyond the music itself, there’s something very satisfying about the consistency of the artwork and packaging, which gives the whole catalog a unique identity and makes it especially rewarding to collect.
- This time your DJ set had more of a listening-oriented style, but what kind of DJ sets do you usually play?
These days, I often play in a listening-oriented style, especially at bars and lounges.
My musical tastes have changed over time as well, and I find myself gravitating more toward music that invites careful listening rather than purely serving the dancefloor. As a result, I rarely play what you’d typically call a club-focused dance mix anymore.
- What do you think is the appeal of DJing with vinyl?
One of the great attractions of records is the ability to share the entire analog experience with others—from the artwork and jacket design to the unique character of the sound itself. I think there’s something special about enjoying and appreciating those qualities together.
- Besides DJing, what stimulates your creativity?
In terms of creativity, I draw a lot of inspiration from art and product design, which are also central to the concept of the shop.
- Do you have any advice for those looking to start a career as a DJ?
I’m a bit different from what people might consider a typical DJ, but I generally believe it’s better to do something that sets you apart from others whenever possible.
- What plans do you have for 2026?
I’m planning to release a new LP on my own label.
I’ve finally come across a project that I truly feel deserves to be released—the first one in three years—so I’m very excited about it. I hope you’ll look forward to it.
