Chico Mello / Helinho Brandão
Chico Mello, Helinho Brandão
Chico Mello / Helinho Brandão
Boomkat Product Review:
A prescient, intensely sprawling masterpiece from Brazil, 1984, toying with jazz, sacred music, minimalism, sound art, avant-pop, and 〜 still 〜 sounding insanely futuristic, newly remastered and back in a beautiful gatefold edition for Black Truffle.
Based in Berlin since the late '80s, Mello grew up in Brazil where he developed his interest in both Brazilian popular music as well as experimental sounds.Salthough he sharpened his techniques in Germany, studying under Dieter Schnebel and Witold Szalonek before settling into a celebrated career (Mello famously played in the '90s formation of Arnold Dreyblatt's Orchestra of Excited Strings), this self-titled album, the only recording he made before moving to Europe, still stands out. Here, he joins forces with local alto saxophonist Brandãu, and the two slip outside of the cultural framework, toying with jazz, sacred music, free improv, pop, sound art and Brazilian traditional music and never walling off their high-minded ideas.
'Água' is a fittingly disconcerting opener, sounding almost pedestrian at first with noir-ish piano stabs and imposing sax squeals from Brandão, but the track veers down the left-hand path when it hits its central segment, lapsing into jaunty poppy melodies that transform almost imperceptibly into a terrifying monastic chant. This signals a marked stylistic shift as Mello introduces fictile percussive chimes and concrète elements, lightening the solemn mood with feathery piano twinkles and a child's voice that sings along - while a gong drones in the background. On the lengthy 'Baiando', the duo hold back a little, playing relatively straightforwardly with Mello on guitar and Edu Dequech on bongos, but the complexity is in the details, as the repeating melodic and rhythmic patterns slowly shift and Brandão takes the opportunity to experiment with extended technique.
'Matraca', a 15-minute ensemble piece, is the album's apex, using an arsenal of South American percussion instruments alongside violins, guitar and horn. It's pretty indescribable stuff, even decades later, that reflects Mello's ambition as it sways from classical minimalism to ritualistic folk, concluding in a chaotic clatter of matracas.
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Boomkat Product Review:
A prescient, intensely sprawling masterpiece from Brazil, 1984, toying with jazz, sacred music, minimalism, sound art, avant-pop, and 〜 still 〜 sounding insanely futuristic, newly remastered and back in a beautiful gatefold edition for Black Truffle.
Based in Berlin since the late '80s, Mello grew up in Brazil where he developed his interest in both Brazilian popular music as well as experimental sounds.Salthough he sharpened his techniques in Germany, studying under Dieter Schnebel and Witold Szalonek before settling into a celebrated career (Mello famously played in the '90s formation of Arnold Dreyblatt's Orchestra of Excited Strings), this self-titled album, the only recording he made before moving to Europe, still stands out. Here, he joins forces with local alto saxophonist Brandãu, and the two slip outside of the cultural framework, toying with jazz, sacred music, free improv, pop, sound art and Brazilian traditional music and never walling off their high-minded ideas.
'Água' is a fittingly disconcerting opener, sounding almost pedestrian at first with noir-ish piano stabs and imposing sax squeals from Brandão, but the track veers down the left-hand path when it hits its central segment, lapsing into jaunty poppy melodies that transform almost imperceptibly into a terrifying monastic chant. This signals a marked stylistic shift as Mello introduces fictile percussive chimes and concrète elements, lightening the solemn mood with feathery piano twinkles and a child's voice that sings along - while a gong drones in the background. On the lengthy 'Baiando', the duo hold back a little, playing relatively straightforwardly with Mello on guitar and Edu Dequech on bongos, but the complexity is in the details, as the repeating melodic and rhythmic patterns slowly shift and Brandão takes the opportunity to experiment with extended technique.
'Matraca', a 15-minute ensemble piece, is the album's apex, using an arsenal of South American percussion instruments alongside violins, guitar and horn. It's pretty indescribable stuff, even decades later, that reflects Mello's ambition as it sways from classical minimalism to ritualistic folk, concluding in a chaotic clatter of matracas.
Boomkat Product Review:
A prescient, intensely sprawling masterpiece from Brazil, 1984, toying with jazz, sacred music, minimalism, sound art, avant-pop, and 〜 still 〜 sounding insanely futuristic, newly remastered and back in a beautiful gatefold edition for Black Truffle.
Based in Berlin since the late '80s, Mello grew up in Brazil where he developed his interest in both Brazilian popular music as well as experimental sounds.Salthough he sharpened his techniques in Germany, studying under Dieter Schnebel and Witold Szalonek before settling into a celebrated career (Mello famously played in the '90s formation of Arnold Dreyblatt's Orchestra of Excited Strings), this self-titled album, the only recording he made before moving to Europe, still stands out. Here, he joins forces with local alto saxophonist Brandãu, and the two slip outside of the cultural framework, toying with jazz, sacred music, free improv, pop, sound art and Brazilian traditional music and never walling off their high-minded ideas.
'Água' is a fittingly disconcerting opener, sounding almost pedestrian at first with noir-ish piano stabs and imposing sax squeals from Brandão, but the track veers down the left-hand path when it hits its central segment, lapsing into jaunty poppy melodies that transform almost imperceptibly into a terrifying monastic chant. This signals a marked stylistic shift as Mello introduces fictile percussive chimes and concrète elements, lightening the solemn mood with feathery piano twinkles and a child's voice that sings along - while a gong drones in the background. On the lengthy 'Baiando', the duo hold back a little, playing relatively straightforwardly with Mello on guitar and Edu Dequech on bongos, but the complexity is in the details, as the repeating melodic and rhythmic patterns slowly shift and Brandão takes the opportunity to experiment with extended technique.
'Matraca', a 15-minute ensemble piece, is the album's apex, using an arsenal of South American percussion instruments alongside violins, guitar and horn. It's pretty indescribable stuff, even decades later, that reflects Mello's ambition as it sways from classical minimalism to ritualistic folk, concluding in a chaotic clatter of matracas.
Boomkat Product Review:
A prescient, intensely sprawling masterpiece from Brazil, 1984, toying with jazz, sacred music, minimalism, sound art, avant-pop, and 〜 still 〜 sounding insanely futuristic, newly remastered and back in a beautiful gatefold edition for Black Truffle.
Based in Berlin since the late '80s, Mello grew up in Brazil where he developed his interest in both Brazilian popular music as well as experimental sounds.Salthough he sharpened his techniques in Germany, studying under Dieter Schnebel and Witold Szalonek before settling into a celebrated career (Mello famously played in the '90s formation of Arnold Dreyblatt's Orchestra of Excited Strings), this self-titled album, the only recording he made before moving to Europe, still stands out. Here, he joins forces with local alto saxophonist Brandãu, and the two slip outside of the cultural framework, toying with jazz, sacred music, free improv, pop, sound art and Brazilian traditional music and never walling off their high-minded ideas.
'Água' is a fittingly disconcerting opener, sounding almost pedestrian at first with noir-ish piano stabs and imposing sax squeals from Brandão, but the track veers down the left-hand path when it hits its central segment, lapsing into jaunty poppy melodies that transform almost imperceptibly into a terrifying monastic chant. This signals a marked stylistic shift as Mello introduces fictile percussive chimes and concrète elements, lightening the solemn mood with feathery piano twinkles and a child's voice that sings along - while a gong drones in the background. On the lengthy 'Baiando', the duo hold back a little, playing relatively straightforwardly with Mello on guitar and Edu Dequech on bongos, but the complexity is in the details, as the repeating melodic and rhythmic patterns slowly shift and Brandão takes the opportunity to experiment with extended technique.
'Matraca', a 15-minute ensemble piece, is the album's apex, using an arsenal of South American percussion instruments alongside violins, guitar and horn. It's pretty indescribable stuff, even decades later, that reflects Mello's ambition as it sways from classical minimalism to ritualistic folk, concluding in a chaotic clatter of matracas.
2024 Re-issue. Gatefold sleeve, newly remastered, includes a download of the album dropped to your account.
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Boomkat Product Review:
A prescient, intensely sprawling masterpiece from Brazil, 1984, toying with jazz, sacred music, minimalism, sound art, avant-pop, and 〜 still 〜 sounding insanely futuristic, newly remastered and back in a beautiful gatefold edition for Black Truffle.
Based in Berlin since the late '80s, Mello grew up in Brazil where he developed his interest in both Brazilian popular music as well as experimental sounds.Salthough he sharpened his techniques in Germany, studying under Dieter Schnebel and Witold Szalonek before settling into a celebrated career (Mello famously played in the '90s formation of Arnold Dreyblatt's Orchestra of Excited Strings), this self-titled album, the only recording he made before moving to Europe, still stands out. Here, he joins forces with local alto saxophonist Brandãu, and the two slip outside of the cultural framework, toying with jazz, sacred music, free improv, pop, sound art and Brazilian traditional music and never walling off their high-minded ideas.
'Água' is a fittingly disconcerting opener, sounding almost pedestrian at first with noir-ish piano stabs and imposing sax squeals from Brandão, but the track veers down the left-hand path when it hits its central segment, lapsing into jaunty poppy melodies that transform almost imperceptibly into a terrifying monastic chant. This signals a marked stylistic shift as Mello introduces fictile percussive chimes and concrète elements, lightening the solemn mood with feathery piano twinkles and a child's voice that sings along - while a gong drones in the background. On the lengthy 'Baiando', the duo hold back a little, playing relatively straightforwardly with Mello on guitar and Edu Dequech on bongos, but the complexity is in the details, as the repeating melodic and rhythmic patterns slowly shift and Brandão takes the opportunity to experiment with extended technique.
'Matraca', a 15-minute ensemble piece, is the album's apex, using an arsenal of South American percussion instruments alongside violins, guitar and horn. It's pretty indescribable stuff, even decades later, that reflects Mello's ambition as it sways from classical minimalism to ritualistic folk, concluding in a chaotic clatter of matracas.
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