avant-psych-noise rock /
Signs of the Silhouette is a project that connects sound exploration with video. Music is developed throughout the study of image in loco by improvisation.
Very influenced by the reading of texts about Phenomenology and Aesthics, the making of this band started with a dialogue about the possibility of the conversion of sound into image and vice versa.
The complete disconnection from primary experiences was their starting point. “How do you feel a car motor or the rain hitting the street in sound? How does it touch you and how to answer musically to it. We are mainly receivers when we should be translators.”
In a show their act of music is answered with reactions to a video projected in the musician body. Therefore the one that plays becomes the visual support of an image interpreted by musical improvisation.
The act becomes a dialogue between a body transmuted lived image perception in loco by a musical, gestual, reactive and spontaneous response. Video and sound working together.
Jorge Nuno (Electric Guitar)
Born in Lisbon in 1971. Musician in publishing activity since 1996, having belonged to projects like Riddle (edited 2 lps), participating in two soundtracks Portuguese films (Nightmare Pink, Pulse Zero), Lisamona (1 Lp and Ep) with Rodrigo Leão, and Stereo Alligator (1 Lp) mixed by producer Alex Newport.
Currently developing the Signs of the Silhouette project.
João Paulo Entrezede (Drums)
Born in Lisbon in 1969. Studied drums and percussion at the Jazz School of Music Jazz Hot Club of Portugal. Involved in various projects with diferent musical styles like Creed, Billy the Kid, among others Lisamona band …
Currently integrated in the Signs of the Silhouette project.
Miguel Lopes (Video)
Miguel Opes was born in Oeiras, Portugal, in 1984. He graduated in Fine Arts at the University of Arts and Design (ESAD) in 2010. He perfected his studies in drawing, painting, illustration and photography in the following educational institutions: AR.CO, Center for Art and Visual Communication; National Society of Fine Arts; Maumaus, School of Visual Arts. Since 2010 he has assistant coach, photographer and video artist with João Garcia Miguel the Theatre Company. As a video artist and photographer, he has undertaken the challenge to explore and articulate the diversity of media, the uses and resources offered and not yet exhausted of (and by) the new technologies of image inside the theater. Video and photography meet their traditional purposes (registration and dissemination), however, they are, above all, elements of scenic language.
Spring Grove / Bambalam Records 
In this 4tth album Signs of the Silhouette use altered perception as an escuse for approaching color.
The all idea came from research about the earlier studies of LSD in the 50’s by some internet documentaries. In Spring Grove Hospital a group of scientists and physicians used LSD as a therapeutic tool to open the mind of a eerie of pacients suffering from alcoholism to depression. Throughout trip descriptions this music band tries to translate those experiences into sound. Form, ideas and colors contaminate the concept of sound and time.
Signs of the Silhouette / SOTS Discos 
The first album is the band first contact with its perception study. Still linked with some “old stuff“ the Signs of the Silhoutte first album is an approach of virgin minds to a the virgin territory of perception throughout sound. This innocent first contact collection of random images and experiences into video and their reactions to them.
Rocket Fish / SOTS Discos 
Rocket Fish album tries to be more pure and connected with those experiences. The album common theme is about fundamentals of creation, natural and basic experiences. Natural elements like water and earth and its metamorphoses and feeling its perfect essences are main themes. Ideas like cosmogonies and other creations miths are also present.
Land Garden / SOTS Discos 
Land Garden album is seen as a conclusion album. An understanding of what was created in the first two and what was lost in the process. Clay, raw earth, dirt were all words connected to that experiences. It is seen as a conscience of a lost illusion , of the conscience of the lost paradise of ignorance and the fear of a new unknown land.
These 3 albums created the Monochrone Trilogy each one a part:
A witness of perception Signs of the Silhouette (first album)
Creation and transformation in Rocket Fish
Imperfect nostalgia, loss and similarity in Land Garden
The video pieces are presented in black and white in this trilogy as a research for the notions of rawness, territory, drawing and purity of visual elements. Color is excluded in this first shows.
Each set of videos is the inspiration for the improvised music. It is also the registration of a group of experiences in each phase of the the trilogy.
Criatividade, inovação e mestria musical podia bem ser a tríade que preside ao nome Signs of the Silhouette. Lançaram recentemente o registo de originais “Spring Groove”, pretexto mais do que suficiente para voltarmos a conversar com eles.
Falámos com vocês em 2013, mantêm a mesma formação?
Sim. Somos três: guitarra, bateria e vídeo. Tocamos também com artistas convidados como uma forma de interação e contacto das nossas abordagens com o exterior.
Text: Sandra Pinto / Look Mag
Signs of The Silhouette: Trip no Cosmos
Ora aqui está uma banda que nunca ninguém viu nem verá, por mais concertos a que deles se assista. Os dois músicos envergam fatos brancos que os cobrem dos pés à cabeça e o videasta esconde-se na penumbra, atrás da sala, projetando.
Os seus nomes poderiam ser os de quaisquer outros cidadãos nacionais: Jorge Nuno, João Paulo e Miguel.
Text: Rui Eduardo Paes / Bitaites
Altamont Recomenda: Signs of The Silhouette
Os sons vão e voltam como correntes de ar, escondem-se para voltar a aparecer desenhando linhas de jazz e rock suspensas enquanto as imagens vão desfilando sobre músicos sem rosto e instrumentos perdidos nas sombras, ocupando literalmente todo o espaço cénico. Neste projecto conceptual, a música responde a projecções vídeo originais da autoria de Miguel Cravo.
Text: Artur Carvalho / Altamont
Pedro Tavares / firstname.lastname@example.org
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