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‘This third solo album is a deep, widescreen exploration in classic Brazilian song with all the subtlety and delicacy you’d expect from the pioneers of Musica Popular Brasileira, coupled with a thoroughly 21st century sensibility and sonic innovativeness. Layers of intricate instrumentation and arrangement make for spellbound, excavatory listening.
‘Recorded following Gomes’ move from Rio to Lisbon, the album is imbued with a sense of unease and cultural dislocation. A number of songs based on the Samba Ostinato explicitly celebrate Brazil’s musical heritage and culture.
‘Led by Gomes’ gentle and dreamy voice, the music is often reminiscent of mighty trailblazers like Caetano Veloso, João Bosco, or Edu Lobo, though it takes unexpected lines of flight into more experimental territory. An element of drone underpinning the whole album takes full charge on Fllux and Transição; and the finale is molten, raging hardcore.
‘A sun-drenched, balmy dream from start to finish.’
His third LP, following up Pieces Of A Man in 1972. One side of collaborations with Brian Jackson; the other, spoken word.
Adding alternate versions, the CD runs through the entire tracklisting twice.
The more expensive LP is newly remastered — all-analogue style, from the master tapes.
Stuffed with staggering selections, comprising maybe our favourite compilation in this mind-boggling series. Deep, hypnotic, mystical music, often a bit wasted; featuring several extended 12” and 10” mixes, sparkling with electronic effects. Almighty sides like George Dudley’s Gates Of Zion and Lloyd Robinson and Devon Russell’s effervescently jazzy Push Push, sublimely channelling Curtis.
It’s a must.
Lovely, mystical, incantatory, roots singing over a deep, knock-off-Rhythm-&-Sound rhythm.
James Brown and Barry White mixed in with classical Arabic and raï music, and a little house and techno…featuring a knockout version of Shaft.
Anti-war deadliness — stripped, direct, heartfelt, with a murderous dub, mixed by Phillip Smart at King Tubbys.
Giddily lovely ballads from 1962, with Chuck Israels taking over from Scott LaFaro.
That’s Nico on the cover.
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