Muito obrigado to Paulo Coimbra Martins for the interview! I was very surprised when I found a Portuguese band from the early 90s making proper indiepop. They were called Alliallatas and I thought they were really good. So I wrote about them. I didn’t expect to get in touch with band members, my article was in English (and yes I know the world is globalized, but it is still rare to hear from bands that are not English-speaking on the blog). Paulo got in touch. He was very kind though and was up for the interview which he answered with so many details. I find it fascinating what was happening there from his story. Maybe there were other great indiepop bands in Portugal waiting to be re-discovered? In any case, if you haven’t heard Alliallatas do yourself a favor, read this interview and listen to their music!

++ Hi Paulo! Thanks so much for being up for this interview! How are you? Are you still involved with music?

Hey there, how are you? All’s fine here, thanks for asking. First of all, thank you kindly for your interest in my musical groups and my work in that area. Yes, I am still involved in music, from since when I was 16 (back in 1987) to this day, both in playing instruments, conceptualizing soundscapes, composing, writing lyrics, and writing both for fanzines, Indie labels, magazines, as well as books in my own name.

++ Let’s go back in time. What are your first music memories? Do you remember what your first instrument was? How did you learn to play it? What sort of music did you listen to at home while growing up?

There seem to be three parts to this question, but I’ll split the answer in two, joining the first and the last into just one, if you mind not…

As for the first part, my first memories are from childhood (late 70s-early 80s) and listening to a lot of radio or my parents’ records, the likes of Abba, Joe Dassin or Demis Roussos which, funnily enough, and as of late, I’ve been rediscovering… Then, I started deep into the New Romantics (which I still love), like Duran Duran, Spandau Ballet, Classix Nouveaux, or even things like The Stranglers. At the same time there was – here- a strong movement in Portuguese Rock music that had a huge impact in me, with names such as Grupo Novo Rock, UHF, Jafu’Mega, Adelaide Ferreira + Preço Fixo, Lena D’Água & Banda Atlântida, Heróis do Mar, or Rui Veloso & Banda Sonora, António Variações, amongst others… Kept on listening to them to this day.

As for the second, the first instrument I played was Classical Guitar, by the time I was sixteen. I am self-taught, with a little help from friends that also lent me the instruments. Nevertheless, I must confess that after my first experiments I tried classes, just to quit after about six months as It felt completely pointless and I ended up knowing only as much as when I started. After that, all instruments that I am still able to play are always self-taught, except for Bag-Pipes to which I took some classes. My first instruments also included Bass-Guitar and assorted household objects, including gas bottles, cutlery, glasses, bottles, wood and card boxes…

++ Had you been in other bands before Alliallatas? What about the other band members? Are there any songs recorded by these bands? 

Yes, indeed I have. I started with Anomeos, which were named Pop Trolha at the very first beginning. I was meant to be the bass player but as I had trouble finding the money to buy one, I had to postpone the idea. So I took the name Pop Trolha with me and started another project (a duet with a friend, Tiago Madureira) based on acoustic guitars, vocals, and assorted percussions (which we both played), and playing a sort of punkish-jazzish & rock’n’roll-ish sound. A home-made tape was recorded, containing three songs from a rehearsal, but alas it’s lost, to my utmost regret… Soon after, though, I rejoined my first creation (that kept on playing) which had already been christened as Anomeos, but this time as rhythm guitarist (and by the end of the band as drummer). This band included, amongst others, and besides me, António ‘Nezinho’ Macedo (guitar), António ‘Batuneira’ Abreu (vocals), with whom I’d be starting my next venture – Restos Mortais de Isabel, and also Hugo Faria (second guitar) and Pedro Ferreira (bass), which I’d be rejoining in Alliallatas. After this band, and with the aforementioned members (the other one being the bass-player, Aníbal Leite), I started the also mentioned Restos Mortais de Isabel, but this time as a drummer and bass player (at some rehearsals). A few months later we three started a side project with a different bass player (Ricardo ‘Formiga’ Ferreira) and a female singer (Kelly), named Ego Mysterium. Only a few months after the end of Restos Mortais de Isabel did I join Alliallatas as a drummer.

As for the other members, except for Hugo Faria (drums) and Pedro ‘Pastel’ Ferreira (bass), who were also in the Anomeos, none of them had been in a previous band, as far as I can remember… António (Tozé) Guedes (rhythm guitar and vocals), Luís ‘Yes’ Guedes (solo guitar) and Eduardo Silva (vocals) were the other members when I joined the band. Prior to that, there had been two other full-time members that I’ve never met: Paulo Monteiro (guitarra braguesa – a traditional northern Portuguese acoustic guitar) and Rui Guimarães (keyboards).

In what recordings are concerned, Pop Trolha did record a three-track home-made tape (as mentioned above), early 1987; Anomeos recorded a rehearsal soon after I joined (as a substitute for Hugo Faria) and an official four-track demo, both by the end of 1988, and two gigs, by early ’89 (which are lost); Restos Mortais de Isabel recorded two demos, one in 1989 (two tracks) and another in1990 (with six tracks), also existing a video live recording of a 1989 live concert; Ego Mysterium recorded two tracks at a rehearsal (that also seem to have been lost). Both Anomeos and Restos Mortais de Isabel have been the object of recent interest, with cd releases by independent labels and collecting most of the recordings, the first ones in 2022 («88-89», through Grey Clover), the second in 2023 («Para Além de Deus, de Deuses e do Destino», through Pós-80’s).

++ Where were you from originally?

The band was from Guimarães, though having changed rehearsing places. As for its members, when I was part of it they all lived within the town’s limits. But please bear in mind that I’ve only joined in when they had more than half a year of existence, though if my memory serves me well Paulo Monteiro was from nearby Braga (a city located about 20 kilometers from here).

++ How was Guimarães at the time of Alliallatas? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

Well, it was a nice quiet small town, thank God… About 20.000 inhabitants. So, as you might imagine, there weren’t many venues. Concerts took place at associations, bars, cafes, discos, school gymnasiums, or – especially in the Summer time – in the open air. Nevertheless, from 1988 to 1991, there was an event that gathered local bands, and even encouraged or was the cause for the formation of many, as they knew they had a place (open doors) to play, with the minimum of conditions and exposure in the local press. Called Movimento Jovem (Youth Movement), it was the most exciting thing for local bands. Alliallatas actually played at The Movimento Jovem IV, a mere two months before I was given ‘membership’ though personally both Anomeos and Restos Mortais de Isabel had been part of the first three…

That being said, for such a small city, it had a lot of bands, the surrounding country included. I liked all that I got to see: Bilou Bilou, Os Bispos, Gothicum Repherae, Subúrbios, Defuntos, Moribundos, Ar’Roto, Alma Picada, UhoQueSomtem, Mata Qu’É Bicho, Merdicidas, Quid Novis, Quid Juris, Ritual Profano, Vício Oculto, The Darkness, and those just at the top of my head… Most of them were into Punk, Post Punk, or Gothic Rock, though some also dabbled in Indie Pop or had influences of bands like The Smiths…

As for record stores, for such a small town, we had at least half a dozen where we could purchase those bands that mattered to us… Also those stores used to lend records to the radio shows, which allowed for the promotion of those bands we liked.

++ Were there any other good bands in your area?

Nearby cities, like Braga or Porto, had more thriving scenes, as they were bigger and economically more developed. Bands like Mão Morta, Rongwrong, Baile de Baden-Baden and Orpheu Rebelde (from Braga) or Bramassaji, Ban, Entes Queridos and Alma Dorida were (and still are) instrumental to Portuguese music and had impact, most having played here.

++ How was the band put together? How was the recruiting process?

As I’ve said, when I became part of the outfit, they were already in existence. As far as I know it started with the drummer and one of the guitarists that invited the rest of the members. It was all on the basis of friendship. I, for instance, was invited by the bass player (that I knew from Anomeos). Once we met on a street, started talking and he invited me to go to a rehearsal, which I did. At first, I started as a substitute drummer, for when the other was absent or couldn’t make it. During those rehearsals we started composing new songs and in the meanwhile the original drummer quitted, So I remained there until the end and by 1993, the band came to a halt given birth to As Flores da Náusea…

++ Was there any lineup changes?

Well, Paulo Monteiro and Rui Guimarães left before or by the time of my entrance. Then Hugo Faria left. Finally, Luís Guedes and Pedro Ferreira also quitted being their leaving the main reason for the formation of As Flores da Náusea, which saw Eduardo Silva changing to guitar and welcoming the new membership of a new singer (also called Rui Guimarães, what are the odds!!??) and a new bass player (Pedro Martinho). Actually, As Flores da Náusea’s first song was an Alliallatas’ one, «A Névoa da Manhã Nova».

++ How was the creative process for you? Where did you usually practice?

António Guedes (rhythm guitar and vocals) and Luís Guedes (solo guitar) were the main composers (as well as brothers, Luís being the eldest), as far as perceived when arriving at the ‘station’, but all gave their input, contributions, and ideas. One thing I remember, even before entering the show, Pedro was using a bass-line on «Princesa de Nerónios» that incidentally was my first composition for Anomeos, and at the time was called «Nox» but never got the chance to be used (Restos Mortais de Isabel also used that line but never recorded it – needless to say that the results were completely different from the Alliallatas’ one). So, in a kind of twisted way I was there without being… In the rehearsals I took part in, someone would present an idea and then we’d work through there, suggesting things and creating our parts.

As to where the band practiced, they started at a local association named Círculo de Arte e Recreio (Circle of Arts and Leisure), but when I joined in, they were already in the place where we remained until the end, including As Flores da Náusea and the following act, Joana Dark. Called Sociedade Musical (Musical Society), it was also another old institution. The band got to rehearse in these places because some of the parents were associates.

++ What’s the story behind the band’s name?

The name, actually, is very punkish. It comes from an Indonesian politician connected with the Timor-Leste situation. So, it made sense, and an ironic one, playing in the «Ao Vivo Por Timor» event. The band started with other names that are forgotten but during a brief period of about a month (late 1991, early 1992 – and before the aforementioned gig), we were named Totus Moriartis (a sort of latinization meaning ‘All Moriarty’), to get away from all that political connotations, but the name didn’t stuck. As a personal note, I prefer the punkish one, probably because I started that way… Totus Moriartis was also the name of an instrumental used to open the live gigs.

++ I don’t think you released any records during your time. Is that so? How come? 

No, no record released, unfortunately. Well, it seems nobody showed interest in us. There was talk of some kind of release through Underground Records, consisting of a track on a 7’’ compilation EP, which also included The Melancholic Youth Of Jesus (who’s mentor owned the label) and a band from Viseu that I can’t remember the name… We actually went to the studio, and paid for the full recording, but only one session went according to plan, so nothing came out of it. The track involved was «A Névoa da Manhã Nova», our latest composition, and it would include a keyboard arrangement for an extended 12’’ version that we rehearsed…

++ Was there no interest from any labels to put out your music? Perhaps there were big labels interested at some point?

Besides the example mentioned above, no other label showed interest, much less majors… But by this time, the band was dissolving and metamorphosing… I often wonder about what would happen if a label would have shown interest in us…

++ I know you had two songs, “Esqueleto” and “Pinture Original”, on a compilation tape called “Breeze 4” that came out in Germany thru the Alphyen Viwit label. Do you remember how did your song got into the tape? Did you send them a demo perhaps?

Well, it came by chance really, as I never contacted the label – never even had heard of it before. What happened was that either through a flyer from tape-swapping or from some friend with a band that put me in contact with Vasco Nogueira, I got to know this Portuguese living in Germany that had a distributor, Urban Records, that was looking for Portuguese material. So, I sent him Anomeos’, Restos Mortais de Isabel’s, and Alliallatas’ demos. As it happens, Michael Witlake from Alphyen Viwit was a friend of his and got hold of our demo through him. Next thing you know, Michael wrote to me and asked for our contribution. And there we were, together with The Melancholic Youth Of Jesus and Cosmic City Blues from here…

++ This tape has many great bands like The Fat Tulips, Les Autres or Sonic Flower Groove, among others. Bands from many European countries. How connected were you to the indiepop scene of the time? Did you have any favourite bands?

I loved all the bands as I always had a wide range of tastes, but actually, my favourite ones were The Laureates, The Balloon Farm, Glaring Surge, New Dawn Fades, and the Fat Tulips. As a curious side-note, I ‘stole’ the title of their contribution to christening one of my projects: The Death Of Me.

There was no connection at all with the European Indie scene, actually… I might sound presumptuous but I was the only one in the band that was really into Indiepop, things like Pastel Coloured Days and each and every single release by Sarah Records… Swapping tapes, reading fanzines…

++ The two songs on this compilation tape came from a 1991 demo tape that included two other songs, “Experiências” an “A Princesa de Neurónios”. Did this demo tape had a name? Were was it recorded? Did you work with a producer?

The demo tape was eponymous, no name besides that of the band. It was recorded here, in Guimarães, at the previously mentioned Círculo de Arte e Recreio. If not mistaken, the producer was Dino Freitas, a local popular musician/producer that had the equipment.

++ And what about other demo tapes? Did you record many? Do you remember which songs were on it? The names of the demo tapes?

Only that demo was released, but the concert for Timor was recorded and released as a free download mp3, during 2008, through Portugal Underground blog, also including the demo-tape. By the way, most of the demos I ever released are available there for free download if you ever get curious or interested…

https://portugalunderground.blogspot.com/2008/04/alliallatas-maquete-1991-ao-vivo-por.html

++ You mention that there was going to be another song of yours on a compilation by Underground Records. I haven’t been able to find any information about this label or any compilations related to this label. Care to tell me more about this? What song of yours was going to be included in it?

As mentioned above, nothing came out of it… The label was fronted by Carlos Santos of The Melancholic Youth Of Jesus but don’t think that it ever released anything… The song registered was «A Névoa da Manhã Nóvoa» (New Dawn’s Mist) in an extended 12’’ version that was supposed to include keyboard arrangements and a long intro… The studio (Reck’n’Roll Studios) might have a copy of the unfinished song but after all these years I pretty much doubt. I do remember that when the studio did publicity of its facilities our name was mentioned in a national newspaper («Blitz» being its name), the only time it ever did.

++ Many years later you would include a live song, “A Névoa Da Manhã Nova (live)”, on a tape called “33 Years of Carrying it On”. This tape is kind of a history of all the music you have been involved with. You’ve been in so many bands. This tape seems to be very rare now, only a few copies were released. Will there be a chance for at some point see a post-humous Alliallatas release?

That tape came out with an autobiographical book baptized as «Como Não Chegar Sequer A Lado Nenhum. Uma Auto-Biografia Que Não Irá A Lado Nenhum (A Primeira Auto-Biografia De Alguém Que, De Facto, Não Chegou A Lado Nenhum Na Música)» [How To Get Nowhere At All. An Autobiography That Will Go Nowhere (The First Autobiography of Someone Who Actually Got Nowhere in Music)]. Originally it was supposed to be a 22 copies edition but as I was celebrating 33 years of being involved in music, I decided to release 33 (hence the title of the tape)… It sold-out a few minutes after being released. As for Alliallatas, there is no more material available to be released as all songs composed were included in the live recording for Timor.

++ And going back to the idea that you didn’t get the chance to release any records. If you had had the chance to put something out. What would you have liked to release? A single? an EP? an album? And why?

All of them as I am a sort of vinyl junkie: a 7’’ for a couple of songs, an EP or 12’’ single for some others (including the extended version I mentioned previously), and the rest as a (M)LP… It could be a 10’’, which I think it’s a lovely format.

++ And aside from the demo songs, are there more recordings by the band waiting to be heard by indiepop fans? Maybe live recordings?

There’s a live concert for Timor, as I mentioned above.

++ My favourite song of yours is “Esqueleto”, wondering if you could tell me what inspired this song? What’s the story behind it?

When I joined the band the song was already written and was the group’s hit. Nevertheless instead of answering you will publish the lyrics here so you can interpret, but can tell you that it was about a local character…

Sentado num bar
Estava um esqueleto
Com um manto preto
E os ossos a abanar

Desejava apenas
Um pouco de paz
Pois no fundo era
Um bom rapaz

Gostava de andar
Sempre à boleia
Sendo de borla
Não é má idéia

E tu vai por mim
E assim não há vícios
Vais a todo o lado
E não pagas ao fim

(solo)

Gostava de andar
Sempre à boleia
Sendo de borla
Não é má idéia

O que é preciso
É sabê-las fazer
O melhor da vida
É depois de morrer

E tu vai por mim
E assim não há vícios
Vais a todo o lado
E não pagas ao fim

Sentado num bar
Estava um esqueleto
Com um manto preto
E os ossos a abanar

++ If you were to choose your favorite Alliallatas song, which one would that be and why?

A tough choice but probably I would choose «A Névoa da Manhã Nova», basically because I was involved in its composition, but also because it shows a darker side of the band, mixed with a certain Madchester vibe. The song was used by my next band, As Flores da Náusea, which had a darker sound, verging on Gothic Rock and Post Punk.

++ What about gigs? Did you play many?

Prior to me joining the band, I think that at least three concerts were played, one of them being at the mentioned Movimento Jovem festival, another at the Círculo de Arte e Recreio association… And there was another one – at least – before both of them… After that there were at least another three, the Timor one included.

++ And what were the best gigs that you remember? Any anecdotes you can share?

Probably the Timor one was the best, with good vibes. As for anecdotes, I remember that the day after I had an exam at the university so I just came and went, not being able to enjoy the after-party… In another one I remember that my drumsticks kept flying from my hands due to sweat…

++ On Youtube there is live footage of you playing live in your hometown. It is on a festival called Ao Vivo por Timor that dates from February 1992. Do you remember that gig? Who organized it? What was it about? Any anecdotes you can share? 

Yes, that video is from that gig. However, the sound one can hear is actually the one from the demo tape, not from the soundboard… It was the work of Pedro Martinho, who would become the bass player for both As Flores da Náusea and Joana Dark.

The event was organized by the local town hall and was related with the events that took place in Timor-Leste, with the Massacre of Santa Cruz cemetery, perpetrated by the Indonesian army on local civilians.

Another anecdote is that the mayor was booed off the stage by the public. Some claim that that happened because people thought he might be singing…

++ And were there any bad ones?

Not as far as I can remember…

++ When and why did Alliallatas stop making music? Were any of you involved in any other projects afterwards?

Alliallatas ended during the first half of 1993, immediately giving birth to As Flores da Náusea. Basically, the band ended due to Pedro Ferreira and Luís Guedes leaving the band. António Guedes, Eduardo Silva and I continued playing, though Eduardo changed to guitar and two new members joined on bass (Pedro Martinho) and vocals (Rui Guimarães).

As for the other members – and as far as I know – they never played again in any band. The year following Eduardo and Rui also left so Joana Dark was born, welcoming on board a female singer (Joana) and another guitarist (Rui Dias).

So, after the end of Joana Dark, by 1996, with Pedro Martinho leaving and briefly being replaced by Ricardo Ferreira (that I mentioned that played on the second Restos Mortais de Isabel demo and Ego Mysterium) and António Guedes assuming the leading vocals, I started a series of projects and eventually joining the Pop band Uzi on bass duties and the Dark Folk project Sangre Cavallum (on vocals and assorted percussions) for about one year, while maintaining my solo outfit, Oktober Black. As for António, he started Blue Orange Juice together with Ricardo and a returning Eduardo. Of all these people, as far as I know, only Ricardo – besides me – keeps making music with the project Ant In The Farm. My latest ventures include Archetypo 120 (a Cold Wave band formed with Anomeos’ and Restos Mortais de Isabel’s guitarist, but this time I shifted to lead vocals and guitars) and Oktober Delusion (with Sandro Menino, a Dark Folk/Industrial/Experimental project with us both as multi-instrumentists).

++ Was there any interest from the radio? TV?

At that time, local radios divulged the demo. As for TV, as we had only two national official channels we never stood a chance. Furthermore, the demo was distributed in Germany through Urban Records which led to Viwit contacting us, as I already mentioned.

++ What about the press? Did they give you any attention?

The local newspapers showed interest, publishing a few articles.

++ What about fanzines?

Urban Records published a catalogue-fanzine that included an article about Alliallatas, as well as Anomeos and Restos Mortais de Isabel. Alphyen Viwit also released a fanzine concerning their releases

++ Looking back in retrospect, what would you say was the biggest highlight for the band?

Well, I guess that it was when I realized that people from abroad showed interest in our art. That was the biggest highlight for the band as it allowed our music to get known in many different countries. Tape-swapping was a huge thing back then so we probably got to more people than we imagine…

++ Aside from music, what other hobbies do you have?

Reading (more like devouring) books, writing, watching the occasional film or series…

++ I’ve never been to Guimarães so I’d love to ask a local. What do you  suggest checking out in your town, like what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

Well, for starters the Historical Centre and the ‘Sacred Hill’ (the place where the Castle and Palace of the Dukes of Bragança, amongst other monuments, are located). Then there is the Penha Mount Touristic Resort where you can have a great view of the entire region… Then there are pre-Roman ruins in the surroundings… As for food, we have several typical dishes like Cozido à Portuguesa (cabbages, potatoes, carrots, assorted sausages and meats…), Rojões (pork, potatoes, tripe, liver…), several codfish specialties, different kinds of Feijoada (a beans’ dish with meats…), local traditional sweets… For drinks we have several different kinds of wines, one of them being typical from here and existing only in this part of the world, Vinho Verde, not to mention world famous Port Wine… Also several different kinds of typical breads and hams or cheeses…

++ Anything else you’d like to add?

Thank you kindly once again for your interest in our work and music. After a time-span of over 30 years one never thinks that a legacy would be kept. Especially when one is as young as we were, no such thoughts occur to our minds.

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Listen
Alliallatas – Esqueleto