On March 6th, Duo Origens released the EP Landscapes from the Weaver Princess, marking the beginning of a new creative phase for guitarists Guilherme Mauad and Henrique Candido. Featuring three unreleased tracks, the project presents an instrumental approach that blends contemporary guitar, modern jazz, and Brazilian music to translate memories, urban spaces, and emotions into a sonic narrative. Inspired by experiences in the city of Americana (SP), the EP solidifies the duo’s identity by focusing on compositions that prioritize listening, atmosphere, and the dialogue between instruments, offering a sensitive and imaginative experience to the audience.
The EP “Landscapes from the Weaver Princess” stems from the idea of transforming places, memories, and experiences of the city into instrumental music. At what point did you realize that the guitar could function as a narrative tool to tell these stories?
The guitar has always been a part of our musical endeavors. We both express ourselves a lot through the electric guitar, but also through the acoustic guitar on various occasions. I think the biggest issue was realizing that Duo Origens had something to offer with two guitars, and especially that our combined expressive power speaks very strongly in this formation.
The three tracks on the album seem to function as small sonic chronicles of the city of Americana. What was the process like in observing daily life and transforming these urban experiences into musical composition?
Actually, the process was the other way around. The songs were conceived and developed first. And as they took shape, we realized their similarities to places in Americana. Not just classic postcards of the city, but also places of sentimental value, that marked our childhoods and emotional moments.
You mention that you seek not only virtuosity, but also imagery, emotion, and narrative. How do you balance guitar technique with this intention of creating soundscapes that invite more contemplative listening?
We believe that virtuosity is merely a tool of expression. We use this tool when we believe it is essential at that moment to create the specific emotional palette for the desired narratives. For us, virtuosity serves expression, not the other way around.
The track “Pat Friendly” pays subtle homage to Pat Metheny. How has his work influenced the aesthetic and sonic development of Duo Origens?
Pat Metheny is one of the great guitar phenomena, and his work has been part of our listening and learning process. We believe that what inspires us most about this great master is his unique sound. The way Pat sought his own sound and expression was and still is a great lesson in how Duo Origens should seek its own sound.
In “The Messenger,” you transform the routine of a newspaper newsroom into music, with polyrhythms and rhythmic variations. How did the idea of translating the flow of information into instrumental language come about?
In fact, as we said before, the process was reversed. The messenger emerged as a blank page for us, and as the musical ideas filled that page, we realized how the flow of ideas was interwoven, and how its various sections alternated, composing a very unique work, filled with diverse parts that speak for themselves. The analogy with the newspaper came from this reflection.
“Reclusa” was born from the silence and introspection experienced during the pandemic. What did this period of isolation provoke in your creative process as musicians?
“Reclusa” (Reclusive) was our first composition. After it was finished, we realized how much the seclusion affected us during this process. Furthermore, we realized how much the spaces in the city of Americana had deteriorated due to the pandemic’s confinement, leading to the abandonment of community assets such as squares and parks. Thus, the idea of honoring these beloved spaces of our city was born.
The project seems to stem from a very strong dialogue between the two guitarists. How does the creative dynamic work between you when composing and building the arrangements?
Exactly. The idea behind all of Duo Origens’ work came from the dialogue between the two instruments, and this adds value to all of the Duo’s processes, from composition to rehearsal and recording. We usually start with a guitar composition (usually Henrique’s), and as the 7-string guitar parts are ready, the 6-string guitar is introduced to enhance what is already there, creating balance, harmony, and in many cases even contrast, so that the work as a whole takes on a greater and more complex meaning.
“Landscapes from the Weaver Princess” inaugurates a series of releases within this aesthetic proposal. What paths do you envision exploring in Duo Origens’ future works?
The idea now is to continue recording other compositions that pay homage to the postcards of Americana, and together with the 3 compositions already released, complete the idea of a full album that will be called “Landscapes”.
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