Incredible frst reissue of a sweltering, 1986, Afro-Brazilian drum and synth battery by Marco Bosco on São Paolo’s excellent Discos Nada - RIYL Airto Moreira, Naná Vasconcelos, Djalma Corrêa, Fernando Falcão, Pedro “Sorongo” Santos
Reissued for the first time on the occasion of its 35th anniversary, Bosco’s 2nd album ‘Fragmentos da Casa’ (1986) expresses a lush sense of wonder at the world, bridging olde, analogue worlds of inspiration with then-new digital technology to create a richly textured playground for his imagination. Rooted in Brazil’s unique, syncretic blend of African, Latin and indigenous South American cultures, and their distinctive rhythmic intricacies, the album feels caught between ancient spirits, taut prog-jazz and the electro-acoustic realm, advancing on the world building templates of Bosco’s 1983 debut ‘Metalmadeira’ towards a sensual conception of Música popular brasileira.
Deploying a peculiar percussive arsenal containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments, Bosco was shaped according to his concept of “Antagonizing the synthesized universe of digital equipment and instruments to an acoustic aesthetics; plus emphasizing the timbristic characteristics of percussion” to realise a sort of musical model of a journey. The results give Bosco’s ample talents room to breathe and blossom thru the digital prism, knitting restlessly fractal rhythms with plush (at times cheesy), but always colourful, synth fanfare and dreamlike pads.
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Incredible frst reissue of a sweltering, 1986, Afro-Brazilian drum and synth battery by Marco Bosco on São Paolo’s excellent Discos Nada - RIYL Airto Moreira, Naná Vasconcelos, Djalma Corrêa, Fernando Falcão, Pedro “Sorongo” Santos
Reissued for the first time on the occasion of its 35th anniversary, Bosco’s 2nd album ‘Fragmentos da Casa’ (1986) expresses a lush sense of wonder at the world, bridging olde, analogue worlds of inspiration with then-new digital technology to create a richly textured playground for his imagination. Rooted in Brazil’s unique, syncretic blend of African, Latin and indigenous South American cultures, and their distinctive rhythmic intricacies, the album feels caught between ancient spirits, taut prog-jazz and the electro-acoustic realm, advancing on the world building templates of Bosco’s 1983 debut ‘Metalmadeira’ towards a sensual conception of Música popular brasileira.
Deploying a peculiar percussive arsenal containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments, Bosco was shaped according to his concept of “Antagonizing the synthesized universe of digital equipment and instruments to an acoustic aesthetics; plus emphasizing the timbristic characteristics of percussion” to realise a sort of musical model of a journey. The results give Bosco’s ample talents room to breathe and blossom thru the digital prism, knitting restlessly fractal rhythms with plush (at times cheesy), but always colourful, synth fanfare and dreamlike pads.