Torstraßen Festival presents
TSF Super Sunday featuring
Alex Cameron, Lido Pimienta and Itaca
Alex Cameron With Roy Molloy On Horn
Alex, you’ve come a long way. And you too, Roy. But hey, both of you, keep your feet on the ground. You two fellas know how to do that. You got a voice, you got a saxophone, you got a full band behind you. Let’s face it: what more do you fellas need? Just remember where you’re from, Alex. I still remember the day: Torstraßen Festival 2016. Gaststätte Prassnik. Now that was a show. That was the moment we knew, Alex, you were gonna be someone. And you too, Roy. Boy, were we bang on. Pitchfork. Guardian. The German newspapers. The cat’s out of the bag, Alex. I’d say it’s safe to say that. On the road with the Killers, cozyin up with Angel Olsen, big man in New York. Hell, Alex, the whole darn Big Apple knows your face. You hit the big time, Alex. And you too, Roy, you too. Always around, that Roy. You betcha there still are some good songs around. You make real honest songs, Alex. Honest songs about dishonest men. About villains and cheats. About criminals, down-and-outs, drunks, the greasy ones, the macho pig types. It’s good what you’re doing with the songs. And with the guys in the songs. It’s real smart, Alex. And Roy, same goes for you. Sure does have a way with the saxophone, that Roy. He’s a keeper, Alex. Roy’s a good one.
The biography of Lido Pimienta provides a fitting geographical and cultural backdrop for her artistic creations. Born in Colombia, based in Toronto, and raised in accordance with her Afro-Colombian and indigenous Wayuu roots, the musician, artist, and curator responds through several disciplines to the themes of gender, race, and identity, specifically that of the Latin American diaspora in Canada. Concepts that might sound theoretical are represented tangibly in the artist’s life and are turned, in the music, into a multifaceted, dazzling sound manifesto, a blueprint for avant-garde and boundary-crossing pop music that’s as sensitive as it is extravagant. Afro-Columbian percussion meets global bass music and electronic sound experiments. Digital and organic sounds grow into each other, punctuated only by Pimienta’s unusual voice. In 2017 she won the Canadian Polaris Music Prize for her latest album, Papessa, which she produced between the terrain of the indigenous Wayuu, the Colombian mountains, Toronto, and London—an honor that has previously been shared by artists such as Feist, Arcade Fire, and Caribou. “Not in English, not in French. But we’re here,” said Pimienta in her acceptance speech. We look forward to the German premiere of this clear, unique voice.
We must admit, we’ve gotten pretty deep into all things Itaca. We now know what “mi manchi stranamente” means, we write our love letters in Italian, we sing along, we dance secretly at home in front of the mirror, we’ve purchased a fog machine, our vacation in Sicily is booked, and yes: we now have altogether positive associations with the term “Italo Pop.” It’s probable that Ossi Viola and Lo Selbo are Berlin’s only Italo-Pop duo, but it’s 100% certain that they’re the best, most charming, most heartbreaking, and most stylistically confident. Through it all we can hear traces of Lucio Battisti (duh), Franco Battiato (only natural), but also Human League (aha!), Visage (hear, hear!), John Maus (oh really?), or The Knife (wow!). And no, it isn’t trashy. But it’s definitely pop. You might have guessed that the love birds met in Rome. The early tape Big in Itaca was followed by the stunning album Itaca mi Manchi, which they presented at Torstraßen Festival in 2017 together with the Hole Boys, upon the invitation of Kat Frankie. It’s unusual for us to invite a band back after such a short time—especially to our biggest stage. Itaca, ci manchi stranamente.