Toquei no Sol
Marlene Ribeiro
Toquei no Sol
Boomkat Product Review:
Gnod bassist and collaborator of Valentina Magaletti and Thurston Moore, Marlene Ribeiro heads into the West on a sublime first LP of dream-pop and psych-folk under her own name - RIYL Panda Bear, Pocahaunted, Elaine Howley, Niagara, Julia Holter.
A decade since grabbing our hearts with two psych-dub-pop LPs as Negra Branca for Gnod’s Tesla Tapes and Michael Holland’s Ono, the six songs of ‘Toquei no Sol’ draw on Marlene Ribeiro’s time spent between farms in Ireland and Wales, her Grandma’s kitchen in Portugal, and back in Salford, for a beautiful collection richly steeped in ohrwurming melody and dreamy harmony. With the benefit of hindsight we can now hear her early couplet of albums and subsequent chops as the bare bones beginnings of this crepuscular new bouquet, which appear to bloom with a dusky scent or gaze that links the spirits of her recordings made in various Western European climes under sun-setting landscapes.
Where Marlene’s voice was a more sparing presence on formative solo works, here it’s more often a radiant central presence, making up for her grandmother, Emilia’s thwarted singing career (she was offered studio time, but declined due to the mores of time and place in Portugal) in lilting folk style rent with ample reverb in choral harmonies that owe as much to Fado as strains of psych-pop and drone rock. Combined with sultry slow percussion and the woozy tones of organ, synth, guitar and clarinet, the results right wrongs in her own way with implicit meditations on nostalgia, provenance and proprioception wrapped up in an evergreen songcraft.
Opening with ‘Quatro Palavras’, a duet with Emilia recorded in her Portuguese kitchen, and making use of domestic objets as percussion, she follows a certain thread of earthy-to-cosmic inspiration as the album proceeds to instrumental free-folk-jazz recalling Valentina Magaletti via the most wistful Ra or Don Cherry in ‘Sangue de lua de lobo’, and transitions from psych-doom whorls into drowsy sort of bossa on her title song. Centrepiece ‘You Do It’ follows with Julia Holter-esque levels of ohrwurm melody in its pluming liens of thought, and ‘Forever’ brings it down to the barest essentials at the LP’s most romantic point, before the album’s balearic slow dance closer ‘What It Is’ glows with the promise of another sunset and night ahead.
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Boomkat Product Review:
Gnod bassist and collaborator of Valentina Magaletti and Thurston Moore, Marlene Ribeiro heads into the West on a sublime first LP of dream-pop and psych-folk under her own name - RIYL Panda Bear, Pocahaunted, Elaine Howley, Niagara, Julia Holter.
A decade since grabbing our hearts with two psych-dub-pop LPs as Negra Branca for Gnod’s Tesla Tapes and Michael Holland’s Ono, the six songs of ‘Toquei no Sol’ draw on Marlene Ribeiro’s time spent between farms in Ireland and Wales, her Grandma’s kitchen in Portugal, and back in Salford, for a beautiful collection richly steeped in ohrwurming melody and dreamy harmony. With the benefit of hindsight we can now hear her early couplet of albums and subsequent chops as the bare bones beginnings of this crepuscular new bouquet, which appear to bloom with a dusky scent or gaze that links the spirits of her recordings made in various Western European climes under sun-setting landscapes.
Where Marlene’s voice was a more sparing presence on formative solo works, here it’s more often a radiant central presence, making up for her grandmother, Emilia’s thwarted singing career (she was offered studio time, but declined due to the mores of time and place in Portugal) in lilting folk style rent with ample reverb in choral harmonies that owe as much to Fado as strains of psych-pop and drone rock. Combined with sultry slow percussion and the woozy tones of organ, synth, guitar and clarinet, the results right wrongs in her own way with implicit meditations on nostalgia, provenance and proprioception wrapped up in an evergreen songcraft.
Opening with ‘Quatro Palavras’, a duet with Emilia recorded in her Portuguese kitchen, and making use of domestic objets as percussion, she follows a certain thread of earthy-to-cosmic inspiration as the album proceeds to instrumental free-folk-jazz recalling Valentina Magaletti via the most wistful Ra or Don Cherry in ‘Sangue de lua de lobo’, and transitions from psych-doom whorls into drowsy sort of bossa on her title song. Centrepiece ‘You Do It’ follows with Julia Holter-esque levels of ohrwurm melody in its pluming liens of thought, and ‘Forever’ brings it down to the barest essentials at the LP’s most romantic point, before the album’s balearic slow dance closer ‘What It Is’ glows with the promise of another sunset and night ahead.
Boomkat Product Review:
Gnod bassist and collaborator of Valentina Magaletti and Thurston Moore, Marlene Ribeiro heads into the West on a sublime first LP of dream-pop and psych-folk under her own name - RIYL Panda Bear, Pocahaunted, Elaine Howley, Niagara, Julia Holter.
A decade since grabbing our hearts with two psych-dub-pop LPs as Negra Branca for Gnod’s Tesla Tapes and Michael Holland’s Ono, the six songs of ‘Toquei no Sol’ draw on Marlene Ribeiro’s time spent between farms in Ireland and Wales, her Grandma’s kitchen in Portugal, and back in Salford, for a beautiful collection richly steeped in ohrwurming melody and dreamy harmony. With the benefit of hindsight we can now hear her early couplet of albums and subsequent chops as the bare bones beginnings of this crepuscular new bouquet, which appear to bloom with a dusky scent or gaze that links the spirits of her recordings made in various Western European climes under sun-setting landscapes.
Where Marlene’s voice was a more sparing presence on formative solo works, here it’s more often a radiant central presence, making up for her grandmother, Emilia’s thwarted singing career (she was offered studio time, but declined due to the mores of time and place in Portugal) in lilting folk style rent with ample reverb in choral harmonies that owe as much to Fado as strains of psych-pop and drone rock. Combined with sultry slow percussion and the woozy tones of organ, synth, guitar and clarinet, the results right wrongs in her own way with implicit meditations on nostalgia, provenance and proprioception wrapped up in an evergreen songcraft.
Opening with ‘Quatro Palavras’, a duet with Emilia recorded in her Portuguese kitchen, and making use of domestic objets as percussion, she follows a certain thread of earthy-to-cosmic inspiration as the album proceeds to instrumental free-folk-jazz recalling Valentina Magaletti via the most wistful Ra or Don Cherry in ‘Sangue de lua de lobo’, and transitions from psych-doom whorls into drowsy sort of bossa on her title song. Centrepiece ‘You Do It’ follows with Julia Holter-esque levels of ohrwurm melody in its pluming liens of thought, and ‘Forever’ brings it down to the barest essentials at the LP’s most romantic point, before the album’s balearic slow dance closer ‘What It Is’ glows with the promise of another sunset and night ahead.
Boomkat Product Review:
Gnod bassist and collaborator of Valentina Magaletti and Thurston Moore, Marlene Ribeiro heads into the West on a sublime first LP of dream-pop and psych-folk under her own name - RIYL Panda Bear, Pocahaunted, Elaine Howley, Niagara, Julia Holter.
A decade since grabbing our hearts with two psych-dub-pop LPs as Negra Branca for Gnod’s Tesla Tapes and Michael Holland’s Ono, the six songs of ‘Toquei no Sol’ draw on Marlene Ribeiro’s time spent between farms in Ireland and Wales, her Grandma’s kitchen in Portugal, and back in Salford, for a beautiful collection richly steeped in ohrwurming melody and dreamy harmony. With the benefit of hindsight we can now hear her early couplet of albums and subsequent chops as the bare bones beginnings of this crepuscular new bouquet, which appear to bloom with a dusky scent or gaze that links the spirits of her recordings made in various Western European climes under sun-setting landscapes.
Where Marlene’s voice was a more sparing presence on formative solo works, here it’s more often a radiant central presence, making up for her grandmother, Emilia’s thwarted singing career (she was offered studio time, but declined due to the mores of time and place in Portugal) in lilting folk style rent with ample reverb in choral harmonies that owe as much to Fado as strains of psych-pop and drone rock. Combined with sultry slow percussion and the woozy tones of organ, synth, guitar and clarinet, the results right wrongs in her own way with implicit meditations on nostalgia, provenance and proprioception wrapped up in an evergreen songcraft.
Opening with ‘Quatro Palavras’, a duet with Emilia recorded in her Portuguese kitchen, and making use of domestic objets as percussion, she follows a certain thread of earthy-to-cosmic inspiration as the album proceeds to instrumental free-folk-jazz recalling Valentina Magaletti via the most wistful Ra or Don Cherry in ‘Sangue de lua de lobo’, and transitions from psych-doom whorls into drowsy sort of bossa on her title song. Centrepiece ‘You Do It’ follows with Julia Holter-esque levels of ohrwurm melody in its pluming liens of thought, and ‘Forever’ brings it down to the barest essentials at the LP’s most romantic point, before the album’s balearic slow dance closer ‘What It Is’ glows with the promise of another sunset and night ahead.
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