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Samuel Cadima

Progressive Electronic

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Samuel Cadima Outros Horizontes album cover
3.91 | 7 ratings | 3 reviews | 14% 5 stars

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Studio Album, released in 2019

Songs / Tracks Listing

1. De Partida no Teleporto [11:01]
2. Refúgio [11:00]
3. Montanha de Nuvens [05:35]
4. Outros Horizontes [11:53]

Total Time 39:29

Line-up / Musicians

Samuel Cadima - Fender and Ibanez electric guitars, Yamaha acoustic guitar, Korg MS-20 Mini, M-Audio Venom, Arturia VST (Farfisa, Hammond, Solina, Oberheim), Washburn bass guitar, mandolin, percussion, voice, recorder and matches

Releases information

Self Released

Thanks to octopus-4 for the addition
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SAMUEL CADIMA Outros Horizontes ratings distribution

(7 ratings)
Essential: a masterpiece of progressive rock music(14%)
Excellent addition to any prog rock music collection(43%)
Good, but non-essential (14%)
Collectors/fans only (0%)
Poor. Only for completionists (29%)

SAMUEL CADIMA Outros Horizontes reviews

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Collaborators/Experts Reviews

Review by TCat
FORUM & SITE ADMIN GROUP Eclectic / Prog Metal / Heavy Prog Team
4 stars Samuel Cadima from Portugal is relatively a new comer to the Progressive Electronic genre. He released his first album in 2017, and early on in 2019, released this, his 2nd album, "Outros Horizontes". He plays all of the instruments on this album, and it isn't completely electronic as he is credited with guitars, bass, mandolin, percussion, recorder and so on along with all of the keyboards. Talk about multi-talented. But how does this album stack up with the endless list of electronica artists out there? Well, that's what I am hoping to find out. The music is based on a sci-fi story, but since that story was not shared by the artist, he says that it is all open to the listener's interpretation. There are 4 tracks, 3 of which are just over 11 minutes each and one at just over 5 minutes.

The Berlin School style is evident from the very first track "De Partida No Teleporto". Starting with an electronic synth pattern, other synth layers start to get added in. The foundation is a repeating staccato pattern, and the melodic layer is more sustained notes. Soon other layers join, a low electronic bass sound playing the same note quickly, the jangling guitar joins the layers and other effects. The style is Krautrock in that everything is built off of a single key. The chiming guitar layers help drive the track forward in a melodic way and all of the other layers add some great atmosphere. Later, after the 8 minute mark, things become almost celestial-like in sound with a very nice sound and then this goes away as the basic foundation continues and the sound gets bent, slowing things down and changing the key and becoming trance-like.

"Refugio" starts with an airy sound and a high pitched tuning noise in the distant background. The sound of a box of matches and the striking of the match is heard. Then a mid-tempo arpeggio comes from a synthesizer that sounds almost music-box like, not quite though and this turns into a melody of sorts while bass and guitar are added, and the sound remains bright, but the overall feel is dark. There are some cool spacey effects, then a fast foundation is built from a lower synth starting a new melody. There is a nice effect in the music that makes the sound just a little off, almost sounding warped down a microtone or two. It is an interesting effect. This soon breaks down and there are more spacey effects. A synth brings in some sustained chords and there is a definite dark feeling in the music now as it plays along slowly. Things turn ambient, but then a completely new beat comes in along with a nice electric guitar solo surrounded by retro-sounding keyboard accompaniment.

"Montanha de Nuvens" is the shorter track on the album. It starts with a surprising acoustic guitar playing alone. There might be a slight processed sound along with it, but it's still quite nice. An organ is brought in along with a tambourine. Later, it becomes evident that the acoustic guitar is passed through a manipulation as the sound becomes slightly bent. Out of nowhere, a recorder sneaks up on you increasing the organic sound of the track. At 3 minutes, it suddenly becomes a heavier and darker track as an electric guitar is brought sounding similar to stoner rock.

The title track "Outros Horizontes" is much more experimental as it starts out with eerie effects and a deep drone. This continues on for some time with nice effects going on and a percussive effect in the background. Things move slowly as the music slowly crescendos, almost like a sun slowly rising on the horizon. There is no melody, per se, just a metallic effect changing tones and later, an arpegiatted synth. The percussion ends around the 6 minute mark and there is a sudden increase in activity with spacey effects swirling around the drone that continues to change dynamically. Soon, you are left with only the synth-generated drone and it increases in loudness as layers break free and then join back into the drone.

There is a surprising amount of variety in these 4 tracks, from Krautrock, to classical rock to experimental. I love the fact that Cadima is not limiting himself to one style, but explores many sub-genres. The fact that he adds in real instruments also help with the overall sound. In the end, I am very impressed with the sounds here, it never really becomes boring at any point, as you become immersed in the music and go on a journey in your own mind, aided by this album. There is a lot of territory covered in these four tracks, but don't worry, the sound is also very cohesive.

Review by siLLy puPPy
COLLABORATOR PSIKE, JR/F/Canterbury & Eclectic Teams
4 stars After the excellent debut "Cascata," Portugal based SAMUEL CADIMA with whom i've been working with for a few years on the PSIKE team (psychedelic, Kraut, Indo-raga, progressive electronic additions) on ProgArchives dropped his stellar mix of progressive electronic and Krautrock spaciness spiced up with all kinds of other elements from the past and in the process created one of the coolest retro prog albums of 2017 and two years later and a little more experience under his belt, CADIMA unleashes his sophomore album in the form of OUTROS HORIZONTES (Portuguese for "Other Horizons") and as diverse and eclectic as the debut was, this followup is just bursting with all kinds of interesting upgrades including not only a fatter series of synthesizers (Korg MS-20 Mini, M-Audio Venom, Arturia VST Farfisa, Hammond, Solina, Oberheim) but the inclusion of both electric and acoustic guitar, bass, percussion, vocals, recorder and a mandolin.

The album is divided into four tracks with three of them extending past the eleven minute mark and the remaining just under six so these are slow free flowing parades of sounds, rhythms, grooves and ambience. Unlike the debut which showcased an intro track that stole half of the playing time, this one is more even keel with the tracks more or less in equal standing with only the third, "Montanha de Nuevens" under the ten minute mark. In addition to the similar to the debut Tangerine Dream, Agitation Free, Manuel Göttsching and Jean-Michel Jarre influences are the colorful additions of Jonas Monk, Mike Oldfield, Steve Hackett, Colour Haze and Cosmic Ground, so overall the album has a much wider spectrum of sound and in the end evokes a much wider range of 70s retro this time around. Despite the extra sounds abroad, nothing feels forced as the musical flow is allowed to slowly ooze into existence.

"De Partida No Teleporto" launches things with the familiar repetitive Berlin School hypnosis of looped rhythmic drive that allows the contrapuntal guitar licks and other elements to develop into a hypnotic tapestry of pure cosmic bliss. Perhaps the most "stable" track on board as it doesn't splinter off into different themes. "Refúgio" follows with the whispering winds of a white winter wailing away with distant voices and spacey frequency drifts chirping about but ultimately giving way to a chime sounding percussive drive as a dramatic melodic development ratchets up the tension with a deep bass rich backdrop which cradles the tinnier exhibitionists. And just when you think the track is all cozy in its present form, it completely shifts gears and takes us into hyperdrive Berlin School synth action with repetitive looped synth stabs providing the backbone of the track while another melodies soars above. However this track meanders and completely shifts gears again many times. The wild ride only gets more sinister, mysterious and cosmic. Buckle up. This one takes you all the way through the wormhole and ends with an unexpected electric guitar and drum machine.

Montanha de Nuvens" takes on an acoustic guitar melody with the electronica and organs taking a backseat but adding the proper psychedelic touches with some folky touches courtesy of a recorder and a more rockin' ending with some electric guitar heft. This one escapes the clutches of progressive electronic altogether and sounds more like Supertramp in the acoustic guitar department alongside a trippy 60s psychedelic rock organ but then it breaks into a heavier anthemic rock cranking out a heavy dual guitar sequence and ends fairly quickly as shortest album track. The ending title track is not only the lengthiest coming close to the 12 minute mark but is also the most cosmic as it opens with a spooky oscillating synth sound accompanied by several layers of equally chilling sound effects and evokes the most surreal and frightening aspects of classic Klaus Schulze. The track displays CADIMA's natural knack for understanding the subliminal pacing of this sort of soundscape by allowing certain droning effects to subtly change pitch slightly while percussive elements come and go and mini-crescendoes wend and wind until they become an even larger one.

One of the hardest parts in making a progressive electronic album based in the Berlin School tradition is to prevent things from becoming overly repetitive and falling into periods of ennui. CADIMA took this to heart and creates a never-ending series of different styles and sounds to keep the whole thing churning along in unpredictable manners. While the album starts out in a more familiar Berlin School fashion with undeniable Tangerine Dream connections, the later tracks take unexpected journeys as they change things up and delve into genres not typically associated with the Berlin School or world of progressive electronic, two genres that are not accustomed to allowing themselves to cross boundaries. OUTROS HORIZONTES is an excellent musical adventure that uses the electronic aspects to create indelible mood setting mystification while the other jaunts add some spice to the planetary peregrination into this sonic odyssey. This is an excellent sophomore offering from Portugal's SAMUEL CADIMA and an unexpected brilliance shrouded in Berlin School regalia. Bravo!

Review by DamoXt7942
FORUM & SITE ADMIN GROUP Avant/Cross/Neo/Post Teams
4 stars Always surprised and impressed with his musical diversity and theoretical creation. "Outros Horizontes" was released as the second full-length album by one of electrip leaders (and my prog friend) Samuel CADIMA in early 2019, that should be enough for me to get brilliant happiness in those days. According to some electronic / psychedelic fans' words, his incredible musical eyesight (earsight?) and fantastic creativity through decent, serious construction would drive me to kinda Fantasia.

The first trip "De Partida No Teleporto" is an official frontdoor taking me to his trippy dreamy sound world. Not simply ambient but ethnic, tribal nuance can veil me softly. Repetitive comfortable phrases push me to another dimension step by step. Why not beautiful? But do not be deceived, he has lots of 'cards' in his hand. Suddenly a gorgeous nightmare titled "Ref'gio" attacks me , with mysterious, unstable melodic lines. I'm immersed in this conpllex, condensed track always, to be honest. Sounds like a solemn gemstone beneath the sea, at least for me. Fascinating is fuzzy electric guitar sound in the latter part, too.

"Montanha De Nuvens", the shortest track in this creation, can be called as the most of 'heavy rock' through his instrument, of all. Very enjoyable is his rock-ish essence deeply existed in his experience. And the last titled one is another crazy killer. Excessively heavy distorted sound streams should invade and conquer our brain perfectly. Above mentioned, Samuel can do tunic construction in an elaborate manner. As well, I'm impressed in his detailed work and close analysis (even in artist evaluation with us).

Finally let me say thanks to Samuel for providing such a dreamy dream.

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