{"id":23823,"date":"2025-11-20T11:30:35","date_gmt":"2025-11-20T11:30:35","guid":{"rendered":"https:\/\/arquivo.osso.pt\/?page_id=23823"},"modified":"2025-11-20T11:30:47","modified_gmt":"2025-11-20T11:30:47","slug":"the-selva-canicula-rosa","status":"publish","type":"page","link":"https:\/\/arquivo.osso.pt\/en\/editions\/the-selva-canicula-rosa\/","title":{"rendered":"The Selva \u2022 Can\u00edcula Rosa"},"content":{"rendered":"
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The Selva \u2022 Can\u00edcula Rosa<\/span><\/p>\n

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Ricardo Jacinto<\/strong> | cello
\nGon\u00e7alo Almeida<\/strong> | double bass
\nNuno Mor\u00e3o<\/strong> | drums<\/p>\n

In their second release, the Portuguese trio The Selva takes the trans-idiomatic concept explored on their previous album and charts new directions. This time, however, there is no crossing of classical atmospheres with African rhythmic movements. Instead, we encounter a seductive electroacoustic blend of folk-tinged melodies, abstract exercises and post-rock organisational cells, all the while maintaining the productive ambiguity between free jazz and free improvisation that forms the core of the trio\u2019s musical identity.<\/p>\n

On Can\u00edcula Rosa<\/em>, this new facet is defined by minimalist, repetitive and groove-driven patterns that evoke, in our listening, resonances with artists such as Dawn of Midi, The Necks and, from the krautrock universe, Can.<\/p>\n

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