A Brazilian band with a well-marked trail across Portugal, DEAFKIDS return to OUT.FEST following their overwhelming 2019 appearance. Now operating as the duo of Douglas Leal and Marian Sarine, they continue to blow apart the conventions of metal, hardcore punk, and the more expansive edges of rock in a transdimensional passage through abyssal riffs, polyrhythms and headbang-inducing martial beats, voices flung into the infinite, and shards of post-industrial electronics that sit perfectly within Barreiro’s histories and horizons. A blistering return, arriving in the wake of the recent release of “Cicatrizes do Futuro” – a title sharply attuned to the present moment – on Neurot Recordings.
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A Brazilian band with a well-marked trail across Portugal, DEAFKIDS return to OUT.FEST following their overwhelming 2019 appearance. Now operating as the duo of Douglas Leal and Marian Sarine, they continue to blow apart the conventions of metal, hardcore punk, and the more expansive edges of rock in a transdimensional passage through abyssal riffs, polyrhythms and headbang-inducing martial beats, voices flung into the infinite, and shards of post-industrial electronics that sit perfectly within Barreiro’s histories and horizons.
A blistering return, arriving in the wake of the recent release of “Cicatrizes do Futuro” – a title sharply attuned to the present moment – on Neurot Recordings.
From the intersection of Rita Silva’s modular synthesiser electronics and the naturalism of Mbye Ebrima’s kora emerges a meeting, already years in the making, between the Western tradition of minimalism and the melodic legacy of West Africa. A rare, if not singular, occurrence in these parts, translated into a music that breaks stylistic and geographic boundaries through a finely tuned symbiosis. Rita Silva, returning to OUT.FEST after a solo appearance in 2023, has been establishing herself as one of the most compelling Portuguese musicians working within the crowded field of modular synthesis composition and improvisation, in continuity with the pioneering work of Delia Derbyshire and Laurie Spiegel. Mbye Ebrima, originally from The Gambia and based in Lisbon for over a decade, is a dedicated practitioner and advocate of the Mandinka-Kaabunké tradition, drawing on the kora and voice to summon a deep historical richness that has led him to collaborate with artists such as Kimi Djabaté and Selma Uamusse.
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From the intersection of Rita Silva’s modular synthesiser electronics and the naturalism of Mbye Ebrima’s kora emerges a meeting, already years in the making, between the Western tradition of minimalism and the melodic legacy of West Africa. A rare, if not singular, occurrence in these parts, translated into a music that breaks stylistic and geographic boundaries through a finely tuned symbiosis. Rita Silva, returning to OUT.FEST after a solo appearance in 2023, has been establishing herself as one of the most compelling Portuguese musicians working within the crowded field of modular synthesis composition and improvisation, in continuity with the pioneering work of Delia Derbyshire and Laurie Spiegel. Mbye Ebrima, originally from The Gambia and based in Lisbon for over a decade, is a dedicated practitioner and advocate of the Mandinka-Kaabunké tradition, drawing on the kora and voice to summon a deep historical richness that has led him to collaborate with artists such as Kimi Djabaté and Selma Uamusse.
Producer, improviser, turntablist and DJ from Leeds, NikNak embraces the sonic and spiritual legacy of Afrofuturism, from Sun Ra to ‘Black Secret Technology’ and Flying Lotus, as a catalyst for imagining other worlds still waiting to be realised. Through a fluid interplay of jazz, jungle and experimental music, she constructs sonic fictions in which the dystopian realities of the present are pierced by flashes of hope. Grounded in an acute awareness of the world as it is, her work remains committed to the act of imagining what might yet come next. The first Black turntablist to receive the prestigious Oram Award, NikNak has earned acclaim from publications such as The Wire and DJ Mag. For good reason.
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Producer, improviser, turntablist and DJ from Leeds, NikNak embraces the sonic and spiritual legacy of Afrofuturism, from Sun Ra to ‘Black Secret Technology’ and Flying Lotus, as a catalyst for imagining other worlds still waiting to be realised. Through a fluid interplay of jazz, jungle and experimental music, she constructs sonic fictions in which the dystopian realities of the present are pierced by flashes of hope. Grounded in an acute awareness of the world as it is, her work remains committed to the act of imagining what might yet come next.
The first Black turntablist to receive the prestigious Oram Award, NikNak has earned acclaim from publications such as The Wire and DJ Mag. For good reason.
À procura de um sítio para ficar durante o festival?
O OUT.FEST une-se de novo ao Living Lounge Hostel (no centro de Lisboa, a apenas 5min a pé da estação fluvial que vos traz ao Barreiro) para oferecer ao nosso público descontos nas estadias durante a visita ao festival. Como resultado desta parceria, poderão beneficiar das seguintes condições:
* Desconto de 15% em todos os tipos de quartos, com a condição de uma estadia mínima de 2 noites, que inclui o pequeno-almoço.
* As reservas devem ser feitas diretamente por e-mail, e a confirmação oficial será emitida após o pagamento da primeira noite.
* As reservas podem ser reembolsadas integralmente se forem canceladas com pelo menos 48 horas de antecedência.
OUT.FEST once again teams up with Living Lounge Hostel (in Lisbon’s city centre, a mere 5min walk to the ferry terminal that takes you to Barreiro), to offer our audience discounts on accommodations during their visit to the festival. As a result of this partnership, you can benefit from the following conditions:
* 15% discount on all types of rooms, with the requirement of a minimum 2-night stay, which includes breakfast.
* Reservations must be made directly via email, and official confirmation will be issued after the payment of the first night.
* Reservations can be fully refunded if canceled with at least 48 hours’ notice.
Self-described as a “wall of abrasive noise from the depths of Benfica parish”, this solitary entity fully inhabits its own manifesto, delivering a sensory onslaught rarely encountered within the local noise underground. Armed with an arsenal of pedals, a Lyra-8 synthesizer, a tin can filled with nails and a homemade noise box, Engrenagem Necrofilia unleashes torrents of raw sound that unfold through a constant interplay of tension and release, recalling, at its most ferocious, the layered intensity of Aaron Dilloway, various incarnations of Richard Ramirez, or the queer abandon of Pedestrian Deposit. ‘Solder Sucker’, quietly deposited on Bandcamp in the summer of 2025, offers a glimpse into this world, but it is through the physical impact of a live performance that its raw honesty truly reveals itself, in a hallucinatory display of sound and presence.
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Self-described as a “wall of abrasive noise from the depths of Benfica parish”, this solitary entity fully inhabits its own manifesto, delivering a sensory onslaught rarely encountered within the local noise underground. Armed with an arsenal of pedals, a Lyra-8 synthesizer, a tin can filled with nails and a homemade noise box, Engrenagem Necrofilia unleashes torrents of raw sound that unfold through a constant interplay of tension and release, recalling, at its most ferocious, the layered intensity of Aaron Dilloway, various incarnations of Richard Ramirez, or the queer abandon of Pedestrian Deposit. ‘Solder Sucker’, quietly deposited on Bandcamp in the summer of 2025, offers a glimpse into this world, but it is through the physical impact of a live performance that its raw honesty truly reveals itself, in a hallucinatory display of sound and presence.
Composer, producer, writer and multi-instrumentalist, and, in their own words, a “proud stutterer” (a trait reflected in the spelling of their artistic name), JJJJJerome Ellis received widespread acclaim with the release of their 2021 debut, ‘The Clearing’. Published alongside a book of the same name, ‘The Clearing’ used this diptych of sound and writing to question the very notion of linear time through Ellis's own lived experience. The result was a liberating process of self-discovery, in which echoes of jazz, resonating through horns and piano in dialogue with electronic textures and hip-hop-inflected rhythms, chart a living historical map of Black resistance and rebellion. This exploration of an entire world of possibilities continued last year with ‘Vesper Sparrow’, released by Shelter Press, and an essential listening for those who appreciate the art of levitation.
[Concert presented within the scope of the tekhnē project, co-funded by the European Union]
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Composer, producer, writer and multi-instrumentalist, and, in their own words, a “proud stutterer” (a trait reflected in the spelling of their artistic name), JJJJJerome Ellis received widespread acclaim with the release of their 2021 debut, ‘The Clearing’. Published alongside a book of the same name, ‘The Clearing’ used this diptych of sound and writing to question the very notion of linear time through Ellis's own lived experience. The result was a liberating process of self-discovery, in which echoes of jazz, resonating through horns and piano in dialogue with electronic textures and hip-hop-inflected rhythms, chart a living historical map of Black resistance and rebellion. This exploration of an entire world of possibilities continued last year with ‘Vesper Sparrow’, released by Shelter Press, and an essential listening for those who appreciate the art of levitation.
[Concert presented within the scope of the tekhnē project, co-funded by the European Union]
