The solo project of Nelson P. Ferreira, AVOIDANT, started around 2007 in Funchal, relocating to Lisbon in 2009, where Ferreira's still based. Besides having released through Portugal's Enough Records and Greece's Etched Traumas, his multimedia project “Black Curtains”, a colaboration between AVOIDANT and Márcio Paranhos (of MPlus and Dead Men
Talking), was part of 2015's edition of the highly regarded FILE Festival, in São Paulo.
The resonance of low frequencies is the first priority for AVOIDANT; they draw from the influential “Earth 2” or Retribution Body, without wanting or being able to be one or the other. But there's a relentless search for intimacy, through the sleepwalking textures he settles for. “AVDN”, AVOIDANT's third full-length, asks you for maximum volume, for headphones, the graveyard shift and absolute silence. This time around, there are moments when the guitars sound like guitars, where the field recordings are raw, unprocessed layers, and there's always room for the dense bottom end, filling the listener's body. Besides the isolationist premise of Thomas Köner, or the gloomy atmosphere of William Fowler Collins, the tense tremolo of the guitars can be overwhelming - maybe a Wolves In The Throne Room influence, maybe some unconscious leftover from several listens of “Theory Of Machines” by Ben Frost. “AVDN” takes off where “Birth In Carpathia” (Enough Records, 2011) ended, adding climatic and anti-climatic dynamics to the tracks.
Refusing to give up on the album format, there's a conceptual theme that unites “AVDN”: the substitution of reckless passion for reclusion, the loss of drive to be intimate and the consequential manifestation of madness through anxiety. We're dealing with visions of a perfect body, absent, above all: intangible. There is, although, a time for everything, and rising from the depths seems possible.
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