LAMPIÃO REI

Papangu are back three years after their absolutely spectacular debut album, Holoceno. Their new album, Lampião Rei, carries on in their unique vein of zeuhl, prog, and metal, but there have been some changes between the records. Holoceno is an unrelenting assault of Magma-tinged sludge metal. It's an eco-apocalyptic tale, and the music serves to build intense senses of dread and unease. Lampião Rei, in contrast, is quite a bit lighter. Significant chunks of this album are metallic, but the band draws more clearly from jazz and classic prog here.

Part of the reason for this shift in sound (aside from adding new members to the band) is that the subject matter here isn't quite as grim as on their debut. It tells the story of Lampião, a Brazilian bandit leader and folk hero whose heyday was in the 1920s and 30s. This album doesn't cover Lampião's betrayal, capture, and beheading (though the band says they'll do that on a future release), so there isn't the same need for Holoceno's oppressive mood.

Lampião Rei opens on the three-part, seven-minute mini-suite "Acende a Luz". Part one "Alquimia" is a short, folky acoustic intro. Part two, "O Encandeio" starts with a lightly jazzy guitar arpeggio and group vocals. It gives things a somewhat hazy atmosphere, and it quickly morphs into a psychedelic, metallic storm. The addition of a keyboard player to the band has brought a new and distinctive character to Papangu's music. A slinky, Wakeman-esque synth solo serves as a fitting climax. Part three, "Sagüatimbó", wraps things up on a rather jaunty note. Acoustic guitar dances about, and a majestic organ gives a lightness and buoyancy I never would have expected from this band.

"Boitatá (Incidente na pia batismal da Capela de Bom Jesus dos Aflitos)", in contrast, starts off with a plodding, distorted bassline and twangy guitars. This cut sounds almost like a metallic version of something off King Crimson's Lizard. The steady guitar riff has anxious electric piano bubbling just beneath it, keeping the rhythm and overall flow in constant flux.Near the end of this cut, things quiet down a bit, and the flute part does an excellent job of evoking the Brazilian wilderness.

Jittery, Üdü Ẁüdü-style guitar lines kick off "Ofrenda no Alguidar". This is intercut with slower jazz-rock flourishes reminiscent of Pink Floyd. Tension is maintained throughout, and there's a constant sense that something is about to break through. The chorus is peppy and jazzy, but there's an undercurrent of anxiety. After a conclusion full of ominous synth pads, the gentle little interlude "Mulher Rendeira" gives the listener some breathing room.

A laid-back, Latin jazz mood persists on "Sol Raiar (Caminhando na Manhã Bonita)". This is the most un-Papangu-like the band has sounded so far, and it took me completely by surprise they went quite this jazzy. I don't speak Portuguese, but maybe the lyrics are fitting for this style. It's not a bad song, or even that incongruous with the rest of the record. It's simply unexpected.

Papangu gets back to something more recognizably Papangu on "Maracutaia". Jazz notes are prominent and unmissable, but it's woven together with moments of heavy progressive rock in an inventive and enjoyable way. The song's final minute sees the band delve into an aggressive psychedelic, folk-inflected black metal excursion.

"Ruínas" is a sprawling instrumental that goes in some very interesting directions. The introduction, replete with chimes, flute, and fluttery synths, sounds like it could have been on a jazz-funk release from the 1980s. Clavinet enters and continues on this funky path, and I really like the uncommon hand percussion they deploy here. From about this song's midpoint, things start to build up. Guitar and wordless vocals push this composition forward, and the eventual introduction of a rock drum kit adds to the momentum.

Lampião Rei ends on "Rito de Coroação". Right off the bat, swirling organ and twining guitars give this cut an otherworldly, psychedelic feel. Things are constantly churning and changing, but it's always small shifts that gradually accrue, rather than sudden shifts. Robert Fripp-influenced soloing will give way to folky group vocals, which in turn go to Magma-style madness and then to the type of grandiosity associated with some of Steven Wilson's bigger songs.

Papangu's sophomore record doesn't quite reach the same heights as Holoceno, but it's really not that far off. I love that they have continued exploring new twists on their sound, rather than just settling into a niche. One thing I like so much about Lampião Rei is just how Brazilian it sounds. I've heard lots of great music from all over the world, but a lot of stuff (especially in the progosphere) can sound quite generically Anglo-American. So when I run across stuff like this, which expertly and artfully weaves in sounds from the act's homeland, it's always exciting.

Review originally published here: theeliteextremophile.com/2024/09/09/album-review-papangu-lampiao-rei/

Beyond Metal / Avant-Garde The Transformation on Papangu.

This is one of the most interesting record I've heard this year, I am always grateful when a band dares to do something unique and different that surprises and enchants me. Papangu's Lampião Rei is an avant-garde prog record with some metal elements, delving into Brazilian folklore, history, a while moving away from their "metal" past. Following their successful debut Holoceno, known for its dark riffs, environmental themes, and Zeuhl explorations, the band now shifts focus to the legendary historical figure Lampião with remarkable flair. The record serves as a powerful ecological and preservation historical document, reflecting Papangu's commitment to exploring deeper narratives within their music.

Brazil has long been a hotbed for avant-garde creativity, with 70's trailblazers like Egberto Gismonti, Os Mutantes, and Hermeto Pascoal pushing boundaries, alongside a strong metal scene with bands like Sepultura, Shaman, and Soulfly. It was only a matter of time before a band merged these influences, and Papangu rises to the occasion with *Lampião Rei*, fusing the complexity of avant-garde with the intensity of metal.

Papangu has evolved dramatically, opting not to revisit their previous style. The album opens with the delicate acoustic guitar and clean vocals of "Acende a Luz II and III," painting a tranquil picture of Lampião's early life. As the track progresses, harsh vocals and keyboards introduce avant-garde influences from Frank Zappa and Soft Machine, showcasing Papangu's talent for creating intricate, layered soundscapes. The production is impressive, balancing intensity and clarity, with each instrument?guitar, flute, or synth?distinct yet harmonious.

Tracks like "Maracutaia" highlight this transformation with off-kilter piano and jazzy breakdowns, marking Papangu's confident shift into avant-garde jazz-rock. Meanwhile, "Boitatá" combines staccato guitars, bass-driven riffs, and a standout flute solo, reminiscent of Jethro Tull and Canterbury-style jazz, pushing the boundaries of their sound while staying true to their identity.

This evolution is a bold move, but Papangu embraces it with confidence. *Lampião Rei* is a genre-defying journey, blending optimism and darkness while capturing the complexities of Lampião's era. The vibrant "Oferenda no Alguidar" contrasts heavy drum beats with bright synths, epitomizing the band's refusal to be pigeonholed. Papangu's transformation is not just about change but about enhancing their storytelling and expanding their musical range, making *Lampião Rei* a standout in the modern avant-garde scene.

As we look to their next release, the anticipation builds?what new paths will Papangu explore? Wherever their musical journey takes them, one thing is certain: they are a band that refuses to stand still, and I'm eager to see where they go next.

The Brazilian act PAPANGU made quite the splash in 2021 with its eccentric and eclectic metalized zeuhl contributions to the prog universe. "Holoceno" embraced all the workings of a 21st century prog act forging ahead in a crowded room with the entire history of prog, metal and Brazilian homegrown influences to stew in a cauldron of its own making. The album was an amazing blend of over the top brutal prog and sludge metal all kept nice and orderly with the bubbling rhythms of Magma inspired zeuhl. The prog and avant-metal world has anxiously awaited a proper followup and in the calendar year 2024, this João Pessoa based band has unleashed its newest stylistic approach on its sophomore release LAMPIÃO REI, uh, Portuguese for "Lamp King?" Hmmm. No, don't worry this isn't a concept album about electrical apparatuses but rather the name LAMPIÃO refers to the nickname of the 20th century Brazilian bandit Virgulino Ferreira da Silva who could fire a rifle so lightning fast that the gun release made a fire that resembled a lamp.

This album while in Portuguese actually narrates the dark history of Brazil's underclass and socio-political activism but lyrics and storytelling set aside for those who comprehend like zero Portuguese, LAMPIÃO REI is quite a musical departure from its predecessor with less focus on the sludgy Mastodon styled metal and much more emphasis on knotty avant-prog, jazz fusion and local Brazilian folk musical styles ranging from udigrudi and forró to other local flavors of Northeastern Brazil. While the hardcore metalheads will scratch their heads with this one, the hardened proggers will absolutely love the wild mix of styles that permeate each and every one of the album's nine varied tracks which seamlessly blend moments of avant-prog, jazz fusion, zeuhl and Brazilian cheerfulness as they hop, skip and jump through varying styles. That includes a few moments of metal as well since the band has not abandoned the metallic oomph altogether however the addition of moments of Canterbury jazz and more demanding time signatures certainly gives LAMPIÃO REI a completely different vibe.

Add to that the production is much clearer this time around. If "Holoceno" was all about crafting darkened soundscapes that were murky and gravelly as to amplify the effects of the metal mojo, this second offering is more about crafting a warm inviting feel for the most part although the tracks differ so much in style that often it sounds like a completely different band. While "Boitat? (Incidente na pia batismal da Capela de Bom Jesus dos Aflitos)" features a loud and obnoxious growled vocal style with heavy guitars and busy psychedelic atmospheres, the track "Sol Raiar (Caminhando na Manh? Bonita)" exhibits Canterbury jazz warmth with Mike Ratledge styled keys along with cheerful traditional Brazilian musical accompaniments. A very strange mix and not one that i've ever heard! The band also offers touches of Gentle Giant knottiness ("Ruínas") and pure samba jazz moments reminiscent of the late great Antônio Carlos Jobim. For all its wild experimentalism though, unfortunately the album fails to find a cohesion of any sort as it seems like a free-for-all which is something that may alienate a lot of fans who lapped up the debut album (such as myself!)

I'm never one to diss a band for experimenting and moving onto something out of its comfort zone but perhaps for PAPANGU the bold change of style on LAMPIÃO REI may have come a little too soon as the fanbase was most certainly expecting a similarly styled followup to the more metallic "Holoceno," at least i was! Musically this album is quite brilliant and the musicians clearly have demonstrated their ability to pretty much tackle the entire prog universe in one sitting however as an album this one just doesn't seem to jive well from beginning to end as the continuity is out of whack and it just seems unfocused in so many ways. It's definitely an interestingly unique album with many interesting prog hybridization going on and i've been told by the band personally that this album is somewhat of an anomaly as the more familiar metal sounds will return on album #3. While i've tried to embrace this one at the same level of "Holoceno," it just doesn't come across as an album that actually can convey a concept from start to finish. Definitely a really good album but just not as much so as "Holoceno."

3.5 rounded down for inconsistency

A few years back I reviewed an album from a new act within the zeuhl space of progressive rock, or more accurately, progressive metal. That album was Holoceno by Papangu, and it is still shaped to be one of my favorite albums within the zeuhl music scene by how they effortlessly melded sludgy, heavy metal with the weirdness of zeuhl music. Now, three years after their stunning debut, Papangu seem to have changed directions with their sophomore effort of Lampião Rei.

Lampião Rei is definitely quite the shift in terms of ideals when it comes to the music that the band promoted with their stellar first record, going less metal and more into a more traditional progressive rock sound. This album kind of reminds me of Pale Communion by Opeth in a way, being an album that moves away from the metal that the band once had in favor of. Now, unlike Opeth, I feel that Papangu sort of jumped the ship of intense zeuhl metal way too soon in their careers. They still have got it in some regards, especially with the stellar third track of Boitatá (Incidente na pia batismal da Capela de Bom Jesus dos Aflitos), but it does feel as though they abandoned a ship that wasn't even crashing yet.

Though, while the biggest fault of the album is the band abandoning the more metal aspects from their first that made them really unique, I think they combined some extra elements that really work very well for this record's more rocking sound. The most notable of which is the expansion of the more jazzy substance that was admittedly a little missing from Holoceno. Zeuhl did originate as a more jazzy genre of prog rock music, especially when you consider Christian Vander's inspirations being a good deal of jazz musicians like John Coltrane. So, I think seeing the more jazzy elements of zeuhl be pushed into more of a limelight here is really nice. The last two tracks of Ruínas and Rito de coroação certainly showcase more of that fusion sound more prominently, sort of sounding like more intense versions of some Herbie Hancock songs. I think it's really great that they're expanding their sounds into some new and fun directions.

Another musical genre they are also starting to explore, at least in small doses, is more Brazilian genres such as forró, udigrudi, and MPB. It's really only noticeable in one track, that being Sol raiar (Caminhando na manhã bonita), but even then that track is amazing. I have been getting into more Brazilian music as of late, like Os Mutantes, Milton Nascimento, and Secos & Molhados, so hearing Papangu go into a more MPB sound for one of their songs was certainly a treat! I guess where Boitatá (Incidente na pia batismal da Capela de Bom Jesus dos Aflitos) was the stellar offering of zeuhl metal for this album, Sol raiar (Caminhando na manhã bonita) is the stellar offering of more traditional Brazilian music that the band wanted to try out upon here. Kind of makes me want a Brazilian pop rock record from Marco Mayer now.

Still, while the new sounds shown here are very great, I still think they should've upped the metal aspects way more. That is definitely my main problem with this record, and it is the fact that they struck gold on their first record, but seemed to move on from it way too quickly that kind of irks me. I think the jazzier sound this record has would meld extremely well with the more brutal metal that Holoceno showed, but I guess that just isn't in the cards yet.

I still really like this album despite its shortcomings, but I do hope Papangu doesn't abandon their metal aspects in future releases. Lampião Rei shows lots of promise for the future of this still cool new band.

Best tracks: Acende a luz: II. O encandeio / III. Sagüatimbó, Boitatá (Incidente na pia batismal da Capela de Bom Jesus dos Aflitos), Sol raiar (Caminhando na manhã bonita)

Worst tracks: Acende a luz: I. Alquimia, Mulher rendeira