João Castro Pinto ‎– Suntria - Imaginal Sonotopes

Unfathomless ‎– U43
CD, Album, Limited Edition, Numbered, Stereo


1 I 0:44
2 II 1:11
3 III 3:52
4 IV 4:26
5 V 3:19
6 VI 4:27
7 VII 1:05
8 VIII 2:25
9 IX 4:45
10 X 3:30
11 XI 4:14
12 XII 8:51



To my Dear Parents Rogério António Pinto and Maria João Maia de Sampaio e Castro Pinto
---------- |

LOCATION : : Sintra-Cascais Natural Park : Sintra’s mountains, ponds and streams (Monserrate),
Cascatas do Rio Mourão and Boca do Inferno.
Additional field recordings done in Praia do Portinho da Arrábida, Amarante, Travanca, Serra do Marão, Vila Real and Travassos da Chã.

All field recordings gathered between 2016/2017.

Limited edition of 200 hand-numbered copies.
All include an additional art card on 300gr matt-coated satin-paper.
Packaged in clear vinyl sleeve with folded insert on 320gr matt offset paper.
more info @


Add Review



June 14, 2017

out on VITAL WEEKLY 1086 _ June 2017 (

In the past I reviewed music from João Castro Pinto before (Vital Weekly 837 and 894, and noted
a certain degree of intellectual approach to what he does; complicated wording to tell us he deals
with field recordings and computer technology. That is perhaps not different here. "Suntria is a
piece that presents plausible soundscapes through the creative electroacoustic exploration and
concrescence of samples that even though, in many cases, belong to the same ontic family" and
"Suntria is the title of this composition because, and foremost, the conceptual purpose of the
album is not to mimic the sonic landscapes of Sintra’s physical actual locations but to creatively
interpret these spaces"; of course it is relevant to say that Suntria is a forest, national park, in
Portugal, once inhabited by the Celts, Visigoths, Moorish and Romans and it is a place "known as
locations of worship and devotion". Pinto taped sounds in this forest and some villages (church
bells), but the twelve pieces on the CD are not a mere registration of these sounds, but through
editing, equalization and perhaps some kind of mild processing (but maybe not). In the eleventh
piece (all parts are numbered and not titled) for instance it is not easy to believe there is no
computer processing going on; at the same time it might all have to do with placing of microphones
in unusual locations to pick up sounds from afar. It seems to me that Pinto likes to have this sort
of mystery here, in which these things are not entirely clear, or in his own words "Suntria’s subtitle
is imaginal sonotopes, and it is so because what is at stake in the piece is recreating combinations
from elements of the soundscape, i.e., of diverse geophonies, biophonies and anthropophonies.
According to soundscape ecology, a sonotope is, precisely, the spatial overlapping units or patterns
advenient from these contingent conglomerations, which in their turn result on the blending of
sonic elements", which sounds better than I'd could say. I don't mind there is some kind of illusion.
Some of the sounds might be layered together, and all together these forty-three minutes
consists of a rich different palette of sounds, which are cleverly stuck together by Pinto into a fine
collage of sounds; mostly quiet but Pinto cleverly built in some louder points, giving the material
bumps and these sudden changes are used to do a complete change of scenery. Excellent release,
this one. (FdW)
––– Address: