MEMÓRIAS DO FOGO

The band provides a good description of themselves on their site, where they write about the "desire to combine aesthetic instigation and political unrest, the band seeks to include itself on the movement that understands art as trench, as a space for the reverberation and organization of ideas committed to the struggle for social justice". The political-militant content is evident in almost all lyrics. For is instance, as on the song "The drama of the human herd", the 2nd track of this album, on which they sing:

"Work! Winding up this stupid gear [...]

Come that it's time, don't mess up, don't delay

Not to be left out of the sacrifice line

The train is heading towards the cliff..."

Now let's catch up to the musical review of this work. It starts with a call on vocals, followed by the cavaquinho (some terms or instruments are untranslatable), which is a small acoustic guitar, that along with the piccolo, the acoustic guitar and percussive instruments, are there to present some musical phrasings between the vocal parts. Another instrument that will eventually come along is the cuíca, that is a very important part of the samba guilds/societies. Here they're mixing latin rhythyms woth rock. Nonetheless, vocals are the priority of this composition, with excellent key signatures and fluidity. The instrumental parts get more full-bodied, with the slight participation of a spanish acoustic guitar, before they calm down. The key signature gets slower, a bit romantic, like a pop french tune, with a bit of a jazzy edge. But their making some sarcasm, because the lyrics are telling that all that poetry about a cup of coffee in Paris hides a story of slavery or semi-slavery on the fields of the colonies that provided (and provides) the grains to Europe. They change to a heavier musical cuisine, and the finale has a foot on the symphonic pop-rock.

The second track starts with a cavaquinho on samba style, but more accelerated than we're used to. Vocals keep on being the priority, fortunately they keep up with the inventive and stimulating key signatures. Suddenly they get very hard-rock, but shortly, when they go to a pagode (a musical style, which came from samba) oriented execution, including tambourine, and a bit of chorinho (another musical style). Some moments after this, the rhytmic section becomes more robust, crossing capoeira, jongo (a musical style) with rock. The interpretations of the lyrics become theatrical, and this becomes the maximum priority. They alternate narration with complex vocal harmonies, dialogues, leading vocals with chorus... the metrics of the lyrics are quite impressive. The song grows, rocking, and turns on to a hopeless march. An unassuming song begins, with small participations from the cuíca, banjo and trumpet, all very soft, so as not to overwhelm or compete with the vocals. They g back to the rocky playing, before ending with a hard-rock touch.

There's some maracatu and coco (both musical styles), in a somewhat cheesy interpretation, on the next track, mixed up with a bit of axé (a musical style from Bahia, Brazil). They continue presenting incredible vocal harmonies, and the lyrics refer to the Latin-American Women's Day, as well as the Favela's Day. On it's final moments, this song makes a slow axé, which is brilliant, because here at Brazil we're so used to here it only on an accelerated way, that it's refreshing to capture it in another proposal.

The oriental beginning of the 4th track has everything to do with it's title, "The monk and the business executive". Here's a part of the lyrics:

"A business executive iluminated by the seed of inovation

Calculated that the elevated spirit boosts production

14 hours daily journeys at the sound of tibetan mantras

A way to control anger, sustaining the Empire(s) [...]

Crossing martial arts with noeliberal ideas

To aniquilate the rivals on the capital markets [...]

Very oriental, a white fake tale".

Musically, smooth fingerings on the instruments, and a moderate percussion establish the first third of the composition. Therefore they change to some reggae-rock. And the type of singing gains speed, remembering, for me, rap elements. With some subtleties on cadences and key signatures. Well, after that they mix up all these elements with some pop too.

Melancholic melodies on acoustic guitar and chant are an all of the next song. Clarinet, clarone (very similar to clarinet) and flute create an intimate and gloomy mood. A soft jongo, on a slow cadence, is carried on. Some classical music tunes are performed on the clarinet. Nothing new when I say that the vocals are the main aspect of the composition, and the music is serving them.

I couldn't identify which rhythym opens the 6th track, but I'm sure it's afro-brazilian. This time they don't vary much the key signatures, cadences and arrangements. So, IMO, it soon becomes repetitive. Otherwise, on it's last third, some key signatures become crimsonian, before they change to an accelerated samba-rock. On this part vocals are narrated and dramatic.

A fast-paced, almost prog-metal, playing, is the introduction of the last track. A heavily pachydermic bass, the hard kicking of the bass drum and the almost-yelling vocals, guarantuee this sound. The guitar is nervous. Unexpectedly they stop, and in their place velvety vocals appear. Calmly the sound mass grows, with the help of the cymbals. Percussive elements are fabulously added. And it turns up that they return to the prog-metal vein.

So much musical languages gathered together is admirable, specially because its full of great arrangements, showing a very mature musicality, and an encyclopedic knowledge of rhythyms. However, at least for me its confusing and stands two or three degrees below on cohesion. I also don't like works that submit the instrumental too much to the vocals. My final note is 3.7. On the other hand, I don't want to be unfair with this effort. So, as a matter of justice, I'll share with the reader that this album received the prize of best album of the year, according to some specialized magazines.

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