The story of Da Comadreja is told in a documentary that premieres on Thursday, in Almada, where the band originates from and will meet again on stage on July 9, twelve years after the separation.
The documentary had initially been designed to commemorate the 25th anniversary of the debut album.”Dou-lhe com a Alma” (1995), but the announcement of the band’s reunion concert at the Alive festival, initially scheduled for 2020, caused a change of plans and “Da Weasel: Agora e para sempre” ended up being cover the entire history of the group, its author, Bruno Martins, told Lusa.
In the documentary, from Antena 3, the six members of Da Comadreja appear, Jay, Pacman (now known to the public as Carlão), Virgul, Guilhas, Quaresma and DJ Glue, to review a number of notable episodes in the band’s careerwhat did he give the first steps in the early 1990s and announced the end in 2010.
“It is a story that begins in Almada with the two brothers [João e Carlos Nobre — Jay e Pacman] and there are layers that have been added and others that have been removed. The life of a band is made of that”, said Bruno Martins.
Unlike other documentaries, “Da Weasel: Now and Forever” does not revisit the band archive. The stories told by the members of the group come to life through the illustrations by Antonio Piedade.
Although the story is told by the latest formation of the band, “other elements were not left out, making them talk about the entry of Armando [Teixeira]Yen Sung’s entrance, Boss AC’s participation, or Sam The Kid’s appearance at some point in their lives.”
The recordings were made in February 2020, “in a single day”, at a stop in the concert rehearsals at the Alive festival.
“Katherine [Peixoto, que realizou o documentário] I had the idea of putting them in a circle, with the camera rail going around them, and we didn’t want an interviewer on the scene,” recalled Bruno Martins, who was asking a few questions, but “he was hiding behind a black screen”.
In the recordings, Bruno Martins asked the six to “always look at each other”, because the idea “was really that they talk to each other”.
The motto is put by DJ Glue, the latest to join the band, “who asks how Da Weasel was born?”. Subsequently, “the conversation became so fluid that almost no intervention was necessary.”
After the recordings, less than a month after the first confinement, dictated by the arrival of the Covid-19 pandemic in Portugal, Bruno Martins and Catarina Peixoto “only had time to put together the draft of the interview and the rest was all done remotely, via zoom, video call and teams, with António Piedade”with whom they had already worked on a video celebrating the 25th anniversary of Antena3.
The pandemic ended up postponing Da Comadreja’s meeting on stage and, consequently, the premiere of the documentary.which will premiere on Thursday at Academia Almadense.
The premiere will be “for fans” and Antena3 offers tickets through social networks.
“The band will be present and will talk to me, Catarina Peixoto and António Piedade at the end of the screening”, said Bruno Martins.
Then “Da Weasel: Now and Forever” will be screened at the Curtas de Vila do Conde film festival, which takes place from July 9 to 17, in the creative section Stereo.
Later, The documentary will be available on YouTube platforms, on the Antena3 and RTP Play account.
The following year, the end of the group was officially announced, leaving fans with the discography that had been released until then -six studio albums, an EP and two live DVDs- and songs like “Good Bless Johnny”, “Dúia ”, “Agora e forever (passion)”, “Hangover”, “I give you with my soul”, “Tender dialects” and “You are great”.
“Amor, Escarnio e Maldizer” was the last album of originals released by the group, in 2007and that at the time meant a maturation of the sound, between hip-hop and heavy rock.
Da Comadreja’s discography also includes the EP “More than 30 sons of bitches” (1994), “I give him with soul” (1995), “3rd Chapter” (1997), “Initiation to a banal life – the manual” ( 1999), “You can run away but not hide” (2001) and “Redefinitions” (2004).
Source: Observadora
