From Watermusic (2000) to Lamentations (2020), passing through the epic four-volume The Disintegration Loops (2002/2003), William Basinski’s work has solidified his truly iconic status, making him one of the most acclaimed names in ambient electronic music of our century.
A classically trained musician and composer, he now works from California after decades as part of New York’s scene, where he collaborated with other creators such as filmmaker and visual artist James Elaine or Antony Hegarty, who invited him to compose music for Robert Wilson’s opera The Life and Death of Marina Abramović.
Basinski employs obsolete technology and analog tape loops, crafting haunting and melancholic soundscapes that explore the temporal nature of life, resonating with the echoes of memory and the mystery of time.
He has just released September 23rd, a recording made in September 1982 and recently rediscovered. Created from a piano piece he composed in high school in the mid-1970s, this work allows us to journey through the artist’s entire historical legacy.
20h00
Santuário da Falperra
Gordan’s music is difficult to classify. This experimental trio blends traditional Balkan vocals with electronic feedback and synthesized sounds, combined with deep bass and hypnotic percussion. They manage to sound both expressive and abstract at the same time.
The voice of Svetlana Spajic—who moves between traditional music and avant-garde art, having collaborated with Marina Abramović, Anohni, and Robert Wilson—carries the weight of Balkan legends and mysticism. Meanwhile, drummer Andi Stecher and Guido Möbius on bass and electronics employ sonic strategies that steer their songs in often unpredictable directions.
Following their debut album When Down in the Meadow (2021, Morphine Records), which received critical acclaim, Gordan returned in 2024 with a self-titled album that is even more radical, pushing their exploration into increasingly inspired and uncharted territories.
20h00
Santuário da Falperra
In any conversation with Clothilde about her music, the phrase "my machines" frequently comes up. She refers to the machinery that her partner, Zé Diogo, builds from scratch, enabling her to create unique sonic environments.
With Clothilde, the phrase "my machines" takes on a new meaning. Her tone and pauses describe a unique empathy—giving the impression that Clothilde and her machines are a singular entity, surrendering to the unpredictability of the moment when in operation.
She first visited the region where Extremo takes place at the end of 2024 for an artistic residency, resulting in a recorded video showcase. Now, Clothilde returns for a special concert in the Chapel of Santa Maria Madalena.
She also brings with her a new album, Cross Sections, released at the end of 2024 by Holuzam, marking a new phase in her artistic journey. Yet, she continues to embrace the raw and primitive side of electronic exploration that defined her previous works.
20h00
Santuário da Falperra
Alexandre Centeio is a multi-instrumentalist and sound artist from Paredes, in the Greater Porto area. At Extremo, he presents his latest album, Silvo, released in 2024 by Coletivo Casa Amarela.
In this record, Centeio takes his music to new territories, presenting a series of compositions that intricately explore the transformation of harsh sounds into a musical narrative—blending dissonances, glitches, and complex textures with a melodic approach.
After the introspective movements of Movanta (2022, Lontano Series, Italy) and the surreal sonic landscapes of Panorama (also released in 2024 by the prestigious UK-based Discrepant label), Centeio continues to explore new possibilities and soundscapes. Silvo evokes moments of implosion and suffocation, challenging the boundaries between harmony and noise, promising a sublime contrast with the bucolic surroundings of Monte da Falperra.
20h00
Santuário da Falperra