Precursors of Portuguese Industrial/Electronic Metal, Bizarra Locomotiva (t… Read Full Bio ↴Precursors of Portuguese Industrial/Electronic Metal, Bizarra Locomotiva (translated: Bizarre Locomotive) occupy today a comfortable place in their country's musical panorama. Their story starts in 1993, when Armando Teixeira (vocals and machines) and Rui Sidónio (vocals) form a band in order to enter the Modern Music Contest of Lisbon, an important national event that had already succeeded in making other bands well known.
That would also be the case of Bizarra Locomotiva, who by winning the contest had a chance to participate in the appraised French festival Printemps de Bourges, in which they returned in 1994. Miguel Fonseca (guitars, ex-Thormentor, ex-Braindead, later also on Mofo) came to create a stronger line-up, contributing decisively to the growth of the band.
The year of 1994 would reveal itself as a good year in albums: in April the band released its self-titled first album, followed in November by "First Crime, Then Live" which was organized in two parts, one recorded in studio and sung in English (their only songs in English language so far), and other recorded live from France sung entirely in Portuguese.
After participating in the 7th Bi-annual Contest of Young Creators of Mediterranean Europe, Bizarra Locomotiva embarked in a well succeeded national tour. Their highest moment on stage was, however, in August of 1997, year where they performed in Sudoeste Festival, in promotion of the EP Fear Now, next to bands like Marilyn Manson.
"Bestiário" (translated: Bestiary), from 1998, constitutes the paradigm-album of the band. Relying on the concept of the "Man-Beast and the Beast-Man", through which they recreate mythological figures that metaphorically portray the Man, the record brings forward an even ampler musical sound, with new ambiance and sonorities. Their aesthetic side assumes, in the same way, a higher importance: the lyrical and musical concept is transposed to the stage, in which Rui Sidónio steps out of a cocoon in each show's opening, symbolizing the birth of the Beast.
In 2002 they return with "Homem-Máquina" (translated: Machine-Man), a new conceptual CD that, in a way, continues the idea of the previous one. Humanity once more is object of fierce critique, because although they have created the machines, they consider them guilty for all the wrong things in the world. The border between Man and Machine starts to fade. The Machine humanizes itself, the Man becomes a Machine. In par with the album, a new, elaborated aesthetic concept is created and brought to live shows, this time with suits worn by the band to symbolize the Machine Man.
With the year of 2004 reaching an end, Bizarra Locomotiva reaches another station, returning to a more raw and aggressive sound that had been intentionally neglected in the previous record, assuming that way an end in a cycle of thematic albums.
In this new train stop, the screams returned almost in omnipresence.
"Ódio" (translated: Hate), the first work recorded by the current line-up that had already been promoting their previous effort, "Homem-Máquina" and where the part of musical composer and producer passes to the hands of Miguel Fonseca, and the lyrical content to the subconscious of Rui Sidónio, the result is to be loved and/or hated.
With 15 years of existence, this project has an impressive career in the Portuguese musical panorama, with 9 edited records and a platinum album awarded with the participation on the tribute album to the (also Portuguese) band Xutos e Pontapés with the cover "Se me amas".
The performance of the band in the 2006's Super Bock Super Rock festival next to bands like Korn and Soulfly was one of the band's highest points, leaving everyone stunned with the power of Bizarra Locomotiva, proving that they are the highest point of Portuguese industrial music and leaving their mark on whoever watches their shows.
Leading the locomotive is Rui Sidónio - one of the most charismatic Portuguese screamers with the best live antics.
2009 will be reminded as the year with the darkest album ever on Portuguese rock history.
The band was on studio preparing the darkest, heaviest and densest work of their long career, as well as working with a very special guest - Fernando Ribeiro of Moonspell, usual passenger of this bizarre locomotive (Bizarra Locomotiva).
Words written and screamed by who suffers the world.
Drums beaten by who knows hate.
Guitars that howl pain.
Unstoppable machines that punish in violence.
With this new "Álbum Negro" (Dark Album) in the freight car, the most-powerful-than-ever Bizarra Locomotiva parts for a new journey, bringing the dark stories of the passengers that travelled, travel and will travel in it.
This is the Bizarra Locomotiva of today, travelling since 1993, and ready to travel for more years to come.
Current Line-up:
Rui Sidónio - Vocals
Miguel Fonseca - Guitars
BJ - Machines
Rui Berton - Drums
(translated from the band's official Myspace)
That would also be the case of Bizarra Locomotiva, who by winning the contest had a chance to participate in the appraised French festival Printemps de Bourges, in which they returned in 1994. Miguel Fonseca (guitars, ex-Thormentor, ex-Braindead, later also on Mofo) came to create a stronger line-up, contributing decisively to the growth of the band.
The year of 1994 would reveal itself as a good year in albums: in April the band released its self-titled first album, followed in November by "First Crime, Then Live" which was organized in two parts, one recorded in studio and sung in English (their only songs in English language so far), and other recorded live from France sung entirely in Portuguese.
After participating in the 7th Bi-annual Contest of Young Creators of Mediterranean Europe, Bizarra Locomotiva embarked in a well succeeded national tour. Their highest moment on stage was, however, in August of 1997, year where they performed in Sudoeste Festival, in promotion of the EP Fear Now, next to bands like Marilyn Manson.
"Bestiário" (translated: Bestiary), from 1998, constitutes the paradigm-album of the band. Relying on the concept of the "Man-Beast and the Beast-Man", through which they recreate mythological figures that metaphorically portray the Man, the record brings forward an even ampler musical sound, with new ambiance and sonorities. Their aesthetic side assumes, in the same way, a higher importance: the lyrical and musical concept is transposed to the stage, in which Rui Sidónio steps out of a cocoon in each show's opening, symbolizing the birth of the Beast.
In 2002 they return with "Homem-Máquina" (translated: Machine-Man), a new conceptual CD that, in a way, continues the idea of the previous one. Humanity once more is object of fierce critique, because although they have created the machines, they consider them guilty for all the wrong things in the world. The border between Man and Machine starts to fade. The Machine humanizes itself, the Man becomes a Machine. In par with the album, a new, elaborated aesthetic concept is created and brought to live shows, this time with suits worn by the band to symbolize the Machine Man.
With the year of 2004 reaching an end, Bizarra Locomotiva reaches another station, returning to a more raw and aggressive sound that had been intentionally neglected in the previous record, assuming that way an end in a cycle of thematic albums.
In this new train stop, the screams returned almost in omnipresence.
"Ódio" (translated: Hate), the first work recorded by the current line-up that had already been promoting their previous effort, "Homem-Máquina" and where the part of musical composer and producer passes to the hands of Miguel Fonseca, and the lyrical content to the subconscious of Rui Sidónio, the result is to be loved and/or hated.
With 15 years of existence, this project has an impressive career in the Portuguese musical panorama, with 9 edited records and a platinum album awarded with the participation on the tribute album to the (also Portuguese) band Xutos e Pontapés with the cover "Se me amas".
The performance of the band in the 2006's Super Bock Super Rock festival next to bands like Korn and Soulfly was one of the band's highest points, leaving everyone stunned with the power of Bizarra Locomotiva, proving that they are the highest point of Portuguese industrial music and leaving their mark on whoever watches their shows.
Leading the locomotive is Rui Sidónio - one of the most charismatic Portuguese screamers with the best live antics.
2009 will be reminded as the year with the darkest album ever on Portuguese rock history.
The band was on studio preparing the darkest, heaviest and densest work of their long career, as well as working with a very special guest - Fernando Ribeiro of Moonspell, usual passenger of this bizarre locomotive (Bizarra Locomotiva).
Words written and screamed by who suffers the world.
Drums beaten by who knows hate.
Guitars that howl pain.
Unstoppable machines that punish in violence.
With this new "Álbum Negro" (Dark Album) in the freight car, the most-powerful-than-ever Bizarra Locomotiva parts for a new journey, bringing the dark stories of the passengers that travelled, travel and will travel in it.
This is the Bizarra Locomotiva of today, travelling since 1993, and ready to travel for more years to come.
Current Line-up:
Rui Sidónio - Vocals
Miguel Fonseca - Guitars
BJ - Machines
Rui Berton - Drums
(translated from the band's official Myspace)
Gárgula
Bizarra Locomotiva Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ela riu-se para mim com aquela boca mortiça
E soltou um silvar fenólico.
E soltou um silvar fenólico.
The above lyrics are in Portuguese and are from Bizarra Locomotiva's song Gárgula. The song is characterized by an eerie and dark tone, and the lyrics suggest a theme of death and decay. The two lines pertain to a woman who is portrayed as lifeless, almost corpse-like, with a mouth that is described as "mortiça" or mortified. The woman laughs at the singer and lets out a "silvar fenólico", which means a phenolic whistling. This could be interpreted as a reference to the sound of air escaping from a lifeless body or a hissing noise that one might imagine coming from a supernatural creature such as a gargoyle.
Overall, the song carries an atmosphere of horror, dark fantasies, and laments. The lyrics seem to evoke a feeling of despair and hopelessness, with the singer feeling trapped in a world of darkness and death. The choice of language used in the song is vivid and macabre, which adds to the disturbing and unsettling nature of the song.
Line by Line Meaning
Ela riu-se para mim com aquela boca mortiça
She laughed at me with that lifeless mouth
E soltou um silvar fenólico.
And let out a phenolic hiss.
Contributed by Henry S. Suggest a correction in the comments below.
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