It is almost possible to feel the lack of uniformity of stones worn by time under the feet. The slopes are missing the air of the lungs, the legs ache, sweat break from his forehead. With Two Cities, the new disc BaianaSystem, sweat with heavy and hot air Pelourinho neighborhood of the historic center of Salvador, Bahia. There are 12 songs tasty encounters between the Bahian guitar Roberto Barreto, the now electronic beats, sometimes organic, low in SekoBass grooveando as if he were walking with us the ups and downs of the neighborhood, and the voice of Russian Passapusso, which turns the everyday into phrases, verses and shouts. The look of the band, the work of Filipe Cartaxo, is part of the BaianaSystem proposal and has grown and expanded with the band.
The album, released in digital format on Friday, 8, music sites via streaming and free download, is a continuation of what was heard in BaianaSystem, the project's first album, released in 2010, full of interesting special interests, as Lucas Santtana, BNegão, among others. There, in the new work, verbatim proceedings. Jah Jah Revolt Part 2, which opens Two Cities, is a result of previous work and even evokes the beating of the drums predecessor, although today the sound of Bahia is more intense and full. "I am not understand, do not understand anything / Who owes laughter is the joke," she sings (and protest) Passapusso. The same applies to Barra Avenue Part 2, already positioned in the album order.
There was a fierceness there, in 2010. She is still present disc, although arising in a more polished form with years of experience on stage, whether from Bahia, from other cities of the country, and the United States, Japan, China and Europe and the production of Daniel Ganjaman in another work which can boast.
But it is no coincidence that the Pelourinho is present in Two Cities. Literally, in some of the letters of Passapusso or evoked in a calorento and sweaty feeling. The singer says that 70% of what was produced and is heard on the disc was born directly from the presentations that the group made during the last years there, in the streets Pedro Arcanjo and Tereza Batista. Since the presentations there in the last carnival in February this year, the Bahia retired from the stage to organize the ideas and proposals that have emerged in the last six years, many of them on the stage. "They were open tracks, many improvisations," recalls Passapusso. "But we can give a format that could fit on a disc. There's our whole process of questions and answers about the samba reggae, what we experience in other projects and tested, everything we did in Pelourinho. We think we will register that's right."
It was then that Ganjaman entered the project definitely. The way Passapusso and producer had already crossed before, when the singer was working on his solo album, Paradise Mirage, launched in 2014. "Since then it came out my record, we did a show with Bahia in São Paulo and went dinner with Ganja, "recalls Passapusso. "Sew patchwork."
It is part of the spirit of BaianaSystem reconstruction. Or, as explained Passapusso, the search for new meanings for each chord, or hit back. "It is as if we take off a piece of a tree to plant there on the side, like a seed, so that other tree is born."
Two Cities, the title is a clear reference to Salvador, the Upper Town and Lower Town, the ups and downs of the Lacerda Elevator. There is room for Passapusso analysis on exoduses. "Of the great and small. From people going up the hill, people who go to another city to work. People who exchange state," explains the singer. The exodus, after all, is the connection, the connection between the two cities, the two points. The meeting of the Bahian guitar with electronic aesthetics. "This is part of the experience of the band."
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Fonte> It is almost possible to feel the lack of uniformity of stones worn by time under the feet. The slopes are missing the air of the lungs, the legs ache, sweat break from his forehead. With Two Cities, the new disc BaianaSystem, sweat with heavy and hot air Pelourinho neighborhood of the historic center of Salvador, Bahia. There are 12 songs tasty encounters between the Bahian guitar Roberto Barreto, the now electronic beats, sometimes organic, low in SekoBass grooveando as if he were walking with us the ups and downs of the neighborhood, and the voice of Russian Passapusso, which turns the everyday into phrases, verses and shouts. The look of the band, the work of Filipe Cartaxo, is part of the BaianaSystem proposal and has grown and expanded with the band.
The album, released in digital format on Friday, 8, music sites via streaming and free download, is a continuation of what was heard in BaianaSystem, the project's first album, released in 2010, full of interesting special interests, as Lucas Santtana, BNegão, among others. There, in the new work, verbatim proceedings. Jah Jah Revolt Part 2, which opens Two Cities, is a result of previous work and even evokes the beating of the drums predecessor, although today the sound of Bahia is more intense and full. "I am not understand, do not understand anything / Who owes laughter is the joke," she sings (and protest) Passapusso. The same applies to Barra Avenue Part 2, already positioned in the album order.
There was a fierceness there, in 2010. She is still present disc, although arising in a more polished form with years of experience on stage, whether from Bahia, from other cities of the country, and the United States, Japan, China and Europe and the production of Daniel Ganjaman in another work which can boast.
But it is no coincidence that the Pelourinho is present in Two Cities. Literally, in some of the letters of Passapusso or evoked in a calorento and sweaty feeling. The singer says that 70% of what was produced and is heard on the disc was born directly from the presentations that the group made during the last years there, in the streets Pedro Arcanjo and Tereza Batista. Since the presentations there in the last carnival in February this year, the Bahia retired from the stage to organize the ideas and proposals that have emerged in the last six years, many of them on the stage. "They were open tracks, many improvisations," recalls Passapusso. "But we can give a format that could fit on a disc. There's our whole process of questions and answers about the samba reggae, what we experience in other projects and tested, everything we did in Pelourinho. We think we will register that's right."
It was then that Ganjaman entered the project definitely. The way Passapusso and producer had already crossed before, when the singer was working on his solo album, Paradise Mirage, launched in 2014. "Since then it came out my record, we did a show with Bahia in São Paulo and went dinner with Ganja, "recalls Passapusso. "Sew patchwork."
It is part of the spirit of BaianaSystem reconstruction. Or, as explained Passapusso, the search for new meanings for each chord, or hit back. "It is as if we take off a piece of a tree to plant there on the side, like a seed, so that other tree is born."
Two Cities, the title is a clear reference to Salvador, the Upper Town and Lower Town, the ups and downs of the Lacerda Elevator. There is room for Passapusso analysis on exoduses. "Of the great and small. From people going up the hill, people who go to another city to work. People who exchange state," explains the singer. The exodus, after all, is the connection, the connection between the two cities, the two points. The meeting of the Bahian guitar with electronic aesthetics. "This is part of the experience of the band."
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O músico Alceu Valença está chegando à cidade com o show Anjo de fogo. No repertório, o público pode contar com o melhor das interpretações da década de 1970, entre elas Agalopado, Papagaio do futuro, Espelho cristalino, Táxi lunar e Anjo de fogo. A apresentação será nesta quinta-feira, às 21h, na Área Lounge do Estádio Nacional (Eixo Monumental; 98170-0736). A entrada custa R$ 55 (pista) e R$ 90 (Front Star), os valores são referentes à meia-entrada. Não recomendado para menores de 14 anos.
