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Full disclosure: I used to DJ with Daniel Collas, one of the fellows behind this project– a new album by one of Rio De Janeiro's nastiest bands of the '70s, recorded in Brazil with the original members. One thing that...
expand review I, and anyone who was at one of our parties could verify, is that the guy is a master of the terrain that lies between rock, latin and soul, and he loooves some handclaps. Sean Marquand, the other producer here, is one of the soulful saints behind the Baile Funk comps and DJs at the legendary Sunday Brazilian parties at Black Betty in B'burg. So, adding all these pieces together, what we have right here a goddamned funky, handclappin', soulful, Rio Black Power record. Check "Yeah Yeah Yeah(1)," or the album opener "Everyone's a Winner(2)" and see what I mean. The DJ sensibility is much appreciated, as many of the tunes have the little intro/break touches that make songs jump into the mix ("Africa Hot Band(3)," "Na Palma Da Mao(4)" and the "Spinning Wheel"-esque lead single "Been So Long(5)"). The changeup tracks are classy ("Astral(6)," "Tudo Azul(7)" and "Melo Do Luia(8)"), the band sounds good, and the post-production is minimal and unobtrusive. If this record had sucked I wouldn't have mentioned that I know Sean and Daniel, but since it is an undisputable asskicker I am proud to let everybody know we go waaay back. You did good, homeys. -monk
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Bonde do Role are officially the biggest thing to ever come out of Curitiba, Brazil (except maybe Wanderlei Silva). The Diplo-produced "Gasolina(1)" is gonna be on their debut LP this Spring on Domino / Mad Decent, but we figured it was about...
expand review time they had something proper for DJs. It wasn't intended this way, but the CD is a nice overview of where Mad Decent is at right now. The original "Gasolina" (which Diplo stretched out for the bonus beats and extended 12" mix) is easily the catchiest track Bonde's come out with yet; somehow it came together in one afternoon with Marina and Diplo collaborating on the lyrics. Unruly Records' Scottie B & King Tutt represent the Mid-Atlantic with a textbook Bmore remix(2) (nevermind that these dudes wrote the textbook…). Buraka Som Sistema slay on their mix(3), fusing their Kuduro styles with Bonde's bastard funk (and it's even got a verse from one of the best young MCs out right now, Petty). London transplants Radioclit round this thing out with a vicious electro rework(4) which has already been getting some UK radio burn. That wolf on the sticker pretty much says it all. Obviously recommended! -Chris Lemon-Red
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LAB EXCLUSIVO! While supplies last, all orders will receive a promo-only 7" of BDR's new single, "Office Boy," featuring remixes from CSS and Architecture In Helsinki! The vinyl version of With Lasers will be released in a few weeks.
To say that Bonde...
expand review Do Role's debut has been "long-awaited" would be a huge understatement. It's been 2 years since we dropped their first EP on Mad Decent and the kids are all grown up now, migrated over to Domino and swapped out message board love for NME praise. The band probably recorded 40 demos for this album, but the final product is a streamlined beast with just 12 tracks, clocking in at 30 minutes. Really, when's the last time you heard an album where every track could be a single? The Diplo-produced "Solta O Frango(1)" and "Gasolina(2)" are here, and so's the new single, "Office Boy(3)" (stupid fun - "buh-buh-buh-buh-buh-boy"). But what you know about "Quero Te Amar(4)," with the heavy vocoder action and throwback Miami bass beat from the Lab's own Eggfooyoung? Or the evil metal opener/closer combo, "Danca do Zumbi(5)" and "Bondallica(6)," with Chernobyl from Comunidade Nin-Jitsu SHREDDING on those finger-tapping guitar solos? London production duo Radioclit even turn in a couple tracks: the kazoo-driven "Geremia(7)" and chopped-up electro-baile "Divine Gosa(8)." All this is to say nothing of the amazingly fun vocals that Marina, Pedro and Gorky provide. I read an article this morning comparing them to Brazil's Tropicalia artists of the 60s/70s, and while I don't know if that's totally on point (Marina would Manic Panic her hair before she put flowers in it), there's something important going on behind all this silliness. Do I even have to say... Recommended. -Chris Lemon-Red
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Ed Motta became an R&B star in Brazil at the age of 17 when his debut album was released in 1988. The nephew of 70s funk master Tim Maia, he is a multi-instrumentalist and composer with very refined tastes and influences. This...
expand review is partly due to the fact that he's one of Brazil's most notorious record collectors, aware of Brazilian music in all its sundry shapes and forms as well as possessing a wealth of knowledge of soul, jazz and everything else diggers around the world go nuts over. Although he's been responsible for a fair number of hits, his eclecticism and expansive tastes have often put him at odds with Brazil's record industry and marketplace. Apparently, he's too "sophisticated" for many. This hasn't kept him from doing exactly what his inspiration dictates, perfect example being this daring and beautiful album consisting almost entirely of instrumentals. "Dwitza" is like a digger's love letter to the crates, filled with references to everybody from Deodato to Roy Ayers, Gamble & Huff to Jorge Ben, James Mason to Steely Dan to Jobim to Herbie Hancock and beyond. Check out "Sus-Tenta(1)," for example, a funk tune built entirely on those jazzed-out chord changes you always wish would go on longer than they usually do. And "Linduria(2)" has a great Steely Dan feel that I'm sure D. Fagen would approve of. "Amalgasantos(3)" is a Bobby Hutcherson-style exercise with a delicious vibes solo. "Coisas Naturais(4)" is a smooth, melodic track whose melody is highly reminiscent of Brazilian digger favorites Joao Donato and Marcos Valle, both of whom the track is dedicated to. It's great to see a guy who loves old records so much get the opportunity (and have the talent) to create one based on all the bits he likes the best. Although this is labeled as his "personal" album, due to the fact that instrumental music just does not sell in Brazil, the fact of the matter is that virtually all of Ed's 7 albums display qualities similar to those found here, and all of them make the majority of US so-called "neo-soul" releases sound pretty weak. After hearing this LP, you'll definitely want to seek out more of Ed Motta's work. -gregcaz
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I was gonna say that Joyce is like Brazil's Madonna, but the fact is that her status in the culture of Brazilian music is pretty much unrivaled here in the States. Her career now spans over 30 years and so many genres...
expand review of music that it would be silly to get into it here, but suffice it to say that this reissue is a real treat. Joyce made this album in 1972 with then-husband (and founding Clube de Esquina member) Nelson Angelo and it's basically Heaven for your ears. Actually, this album draws a lot of comparisons to the Clube de Esquina record from the same year, but there's something so much more ethereal and sweet about this one. Maybe it's the husband/wife thing, or maybe it's just Joyce's flawless vocals over Angelo's vaguely psychedelic acoustic backings. This isn't even the kind of thing that needs audio picks (since you should just listen to it front-to-back in a dark room with a huge spliff) but here they are: "Um Gosta de Fruta(1)," "Linda(2)," "Tiro Cruzado(3)," "Vivo Ou Morto(4)" and "Tudo Comeca de Novo(5)." Recommended. -Chris Lemon-Red
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If Os Mutantes were the Brazilian Beatles, this would be their Revolver, an album that marked a serious stylistic development and would change the band forever. Everyone loves the goofy sound effects and tropicalia flavors of the first Mutantes album, and while...
expand review there are still a number of light-hearted moments on A Divina Comedia…, there's a definite step up in tone and straight up musical skills. (The title translates to "The Divine Comedy, or I Feel Spaced Out," so you know they've still got a sense of humor at this point.) The psychedelic influences are more prominent this time around, especially in the fiery fuzz and organs of "Oh! Mulher Infiel(1)" or the nervous breakdown of "Meu Refrigerador Nao Funciona(2)." But the bubblegum moments are irresistible, too: check out Rita's sweet voice with the Brothers Baptista's bombastic accompaniment on "Ando Meio(3)." Even the tracks in the middle can't lose, like "Quem Tem Medo de Brincar de Amor(4)," which is like bossa, psych rock and a childrens' song rolled into one. They don't make 'em like this anymore! 11 tracks; 42 minutes. -Chris Lemon-Red
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If Mutantes' first album sounded like a bunch of Brazilian teenagers mashing up the Beatles and Marcos Valle while tripping on acid, their second LP sounds like the band falling completely over the edge. While the Baptistas didn't abandon their pop sensibilities...
expand review altogether with Mutantes, the structure and bubblegum feel of their debut feels largely stripped away. Instead, songs like the spacey and vocodered "Dia 36(1)" and the layered "Dois Mil e Um(2)" feel like mini-suites, compact rock operas where Mutantes could accomplish in 3 or 4 minutes what took other bands 10. Of course, there's still the light-hearted "Rita Lee" and fuzzed-out "Magica(3)," not to mention the short and sweet "Algo Mais(4)" which probably could have been a hit in the US… if it weren't in Portuguese. In my humble opinion, this record comes in a close second to the debut record, but at the same time I can't deny the stoned beauty of the pair of closing tracks, "Qualquer Bobagem(5)" and "Caminhante Noturno." Nevermind the fact that the Omplatten reissue of this CD has been fetching major bucks on eBay – if you haven't heard Mutantes' first three albums, you owe it to yourself! 11 tracks, 42+ minutes. -Chris Lemon-Red
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Finally, the full set of acoustic David Bowie covers as done by Seu Jorge in The Life Aquatic. You could previously get a handful of these songs on the soundtrack CD or on the second disc of the DVD set, but you...
expand review get a full 14 tracks here- and there's just something more powerful about having them all in one place. Beyond the schtick of hearing some of Bowie's biggest hits done acoustic and in Portuguese, Jorge is entirely compelling on his own and anyone who's heard these tracks is attracted like a moth to a light bulb. Check "Rebel Rebel(1) Ziggy Stardust(2), Suffragette City(3)," and "Changes(4)" and see where you're at with that add to cart button. Required material for winter -the mgmnt
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Encontro is the sound of band caught between sounds: hard Brazilian jazz-funk veers to summery easy listening before taking a sharp turn to beaty '60s flower pop, often in the space of a single song. Luckily for us, the band...
expand review in question is Azymuth in a protozoic stage (1970), and even when they stray a little too far into the mellow side of things the sounds are proper. Take "Arabian Things(1)," for example. So it's not "Jazz Carnival," but the typical Azymuth groove is right there, drum break, funky bass line and all. Acoustic piano takes the place of the usual electric that Bertrami (aka "Ze Roberto") would get into in the '70s, but he still whips it hard ("Surra 7(2)"). And did I say drum break? Ladies and Gents, start your samplers ("Chafariz(3)"). There are cool textures throughout that'll leave Akai and Ensoniq owners with itchy fingers ("Livia(4)," "Encontro(5)"). Rounding things out are a wild car-chase version of "Summertime(6)" and a nice Brasil pop classic ("Mustang Cor de Sangue(7)"). This WhatMusic reissue is, as with all their stuff, immaculately crisp in sound quality and slick in packaging, with new liner notes and a reproduction of the lovely original cover. -monk
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