Telebossa – Telebossa 9.0

                Rarely do I stumble across a group as enjoyable and unusual as Telebossa. A mixture of electronics, bossa nova, and chamber music, it is a real treat. Chico Mello and Nicholas Bussmann infuse a great deal of heart into these seven songs. I haven’t heard anything this inspired for quite some time.

                Bossa Nova is considered a rather ‘conservative’ genre musically-speaking. Usually the greats like Antonio Carlos Jobim, Joao Gilberto, Stan Getz, etc. are mentioned, referred to, and not expanded upon much. Having such a refreshing approach to a style I already adore is fantastic, and they succeed on expanding the palette of sounds without ruining what makes bossa nova enjoyable. 

                “Feltro No Ferro” begins things off slowly: with a treated piano before flowering into a full song. Nicholas Bussmann is responsible for these subtle electronics and cello. Chico Mello provides the vocals and guitar. Few others join them, excluding some restrained drums. You’re basically left with these basic elements for the duration of the album.

                Only occasionally are you reminded of the fragile state of these few elements. Chico’s voice gets heavily stretched on “Eu Sonhei Que Tu Estavas Tao Linda” with all other sound removed. For a moment you’re left at the edge of your seat as you’re completely uncertain as to where they’re headed. After this things take a darker turn musically and you again hear the stretched out vocals but this time with accompaniment.  

                The grooves feel warm, tactile, and alive. Somehow they are able to play off chamber and electronic music’s precision with the relaxed nature of bossa nova. “Amoroso” exemplifies this patient approach. It takes its time in building up to a fully satisfying whole. 

                During the entire duration of the album, you’re reminded something is always a little off with the recording. Pops appear in the mix for rhythm. Vocals are stretched, treated and slightly mangled. Bossa Nova needed these changes. Don’t think of Telebossa of a revolution of bossa nova, think of it as a much needed evolution of a usually staid genre. This is a beautiful album.

Beirut released a New Single Today

                Zach Condon released a single today called “East Harlem”. This is important. Beirut has been on a slippery slope downward for quite some time. You can only rely on your rabid, almost serial killer-esque fan base to listen to the same two albums and handful of EPs for so long. At some point you need to simply ‘bring it’. 

                I think Zach finally understands the importance of building up hype. With the “East Harlem” release he satisfies countless dedicated fans. Apparently the single was first written by Zach at the tender age of 17. Zach may be leaning too hard on his earlier, more prolific years.  Personally, I don’t think that. Sometimes it takes playing a song or group of songs a lot before you realize how good it is. Often songs require a bit of tweaking. For “East Harlem” perhaps Zach needed to actually see East Harlem before he could get the sound right. 

                Bands go through practicing songs over and over again in a live setting to get them right. Radiohead took this approach with most of the material on “In Rainbows”. Zach knows “East Harlem” and “Goshen” has been bootlegged to near-death, near-irrelevance. Releasing both of these songs in an official format means he ‘gets it’ and understands a market exists. So many years have passed since he released anything new anyway. Now he wants to show he is serious about getting an album out in time for summer. A hope of his is to be taken seriously. By actually doing what he states would be a big step in this direction.

                Unfortunately neither of these songs has any noticeable Brazilian influence. You see Beirut has a huge following in Brazil. Brazil first saw him in the mini-series “Capitu” which won him the following of an entire nation in 2009. The ensuing buzz has created a whole cottage industry of bands hoping to be just like Beirut, playing similar music and instruments. I think this shows a prime example of the ‘exporting of buzz’. Like with Dubstep, Beirut’s unique brand of Balkan Folk takes a few years to really get to other audiences. Dubstep began years ago and we’re only hearing it now. Beirut’s last album came out in 2007 it took a few years for it to reach Brazil.

                Now Zach needs to figure out exactly how to make or market his next album. Will he simply continue on the same path making the same predictable Balkan Folk/World Music? Or will he take another approach, deciding to forgo the tough nature of the US buzz market and pin his hopes on South America? South America’s buzz market is nowhere as competitive as the United States. Hell, bands even have a name for tributes to his greatness called “Beiruting the Square”. Zach would be a fool to ignore that level of dedication, that level of love. Forget mopey late twenty something s in the US. Their income will increase only so much as they spend large amounts of time alone, crying, scrobbling Beirut’s few releases over and over again on Last.fm. If Beirut wants to really make an impact he ought to release his album in Brazil first and let it release in the United States later. 

                Releasing his upcoming album in Brazil first will show he appreciates and cares about the genuine affection the country shows him. I mean, I can’t even think of a single US TV show where Beirut appeared. No band does a tribute to Beirut in the US. Most Balkan Folk bands in the US are actually from the Balkans and probably influenced him. Zach needs to take this once in a lifetime opportunity and influence a growing, younger and considerably more vibrant music scene in an entire country. For buzz in the US is fleeting (Beirut knows this from his own experience) but buzz elsewhere lasts longer. 

                Hopefully the next Beirut EP reveals a bit more about potential new album. Or perhaps he’ll just pull a “Joanna Newsom” and randomly release the whole thing without any teasers. Either way he will need to rise above.

Movie Review: Fast Five

                ‘Fast five’ has accomplished something no other movie has: summer has moved forward to this Friday, April 26^th. Usually summer begins on June 21^st but due to the extreme hotness and anticipation of the fifth installment of the “Fast and Furious” franchise, well; let’s just say that groundhog didn’t see this coming. How could he? It was moving too quickly for him, leaving him in the dust. That groundhog didn’t even see the shadow coming. 

                The movie starts with a bang. Kid Charlemagne (Vin Diesel) is busy crafting legislation to increase the tax on ethanol in Brazil. Brazil is facing a serious budgetary gap, and may otherwise have to cut social programs to the poor. On television Kid Charlemagne tries to explain to the nation how everyone will need to sacrifice for the betterment of society. Halfway through his speech of eliminating poverty, he says “Fuck it” and chooses to steal money using really fast cars. 

                Everyone is shocked in Brazil at how the dedicated civil servant fell so far from grace. He establishes himself as the major player in an international drug cartel. Financing the underground musical movement called ‘chillwave’ he increases drug consumption in the United States by over 350% during the summer of 2009. Kid is considered a god among men, and his revolutionary spirit of financing music to take drugs to have countless impersonators. Only Kid has a leg up on them as he worked at his university as a radio DJ during the pivotal hours of 11:00pm to 1:00am on Thursday nights. No one realizes this except for a lone US Federal Agent.

                A US Federal Agent named Steely Dan (played by Dwayne Johnson) remembers those sweet jams Kid used to play. Memories flood Steely’s mind, of him and his Cousin Dupree, of his good friend Dr. Wu who wrote him prescriptions to painkillers he’s now addicted to, and of his orgies with the Babylon sisters. Knowing how tough it is to kick the habit, he hopes to at least help Kid turn back to his old ways, of helping others. Plus, he worries about stronger strains of music being unleashed, requiring even heavier drugs. 

                Driving furiously after Kid listening to jazz-rock fusion from the 70s, he fails to stop Kid’s most recent contribution to the popular music blog “The Hype Machine”. After Salem’s newest album hits the site, the site becomes nearly overwhelmed. Heavier drugs become an in-thing among the cool kids in such hip, relevant places such as Austin, New York, Portland, Chicago and Minneapolis. Tears roll down Steely’s face as he sees how absolutely strung out of his mind the lead singer of Salem is, like he doesn’t even know what’s going on or why people invited him to play at South By Southwest.

                Steely Dan is perplexed. In this role, Dwayne lived with Bill Murray for six months to get down pat the goal of being a hip older man. Then he read various hip blogs for an entire year to hone the exact language his character would use as a cool dad. Putting this together took time, and there’s a lot of screen time dedicated to Steely Dan g-chatting with his teenage son in the US, telling him to avoid purchasing wrap-around headphones. By avoiding that kind of purchase, Steely hopes his son will continue listening to music on those shitty waxy IPOD headphones and avoid the hypnotic grooves of Dubstep and Chillwave.

                Years go by as Steely Dan plans his next move. He’s trailing Kid, who grows stronger by the day. An entire team is assembled by Steely, set on destroying Kid’s influence on the young people of Brazil and the United States. This 80s throwback nostalgia stuff only makes kids want drugs even more, reminding Steely of the botched efforts he undertook in the late 80s working with the Reagan administration. 

                Finally, Steely’s team goes into action. Driving cars so insanely fast they have been banned from Germany’s famous Autobahn, they spring into action. This is the most intense chase of the movie and the longest, lasting for nearly 30 whole minutes. While we watch them drive at unreasonable speeds in the Bugatti Veyron, we get the most character development and dialogue in the entire movie. Apparently Kid had developed impotence, making him rely on ever-increasing amounts of Viagra to please his hipster wife Sue (played by Zooey Deschanel). Combining their musical taste made them an unstoppable force.

                Kid is used to being the best driver. But Steely’s excellent handling and reckless driving has him worried. Having to choose between escape or releasing the latest music fad (Post-Chillstep, a mixture of Post Rock, Chillwave and Dubstep which instantly makes the brain crave unconscionable amounts of dopamine) he chooses to live another day. While frustrated, Steely is happy to have somewhat defeated him. The movie ends with Steely abusing prescription drugs listening to Neon Indian’s “Deadbeat Summer” wondering where he goes from here. Steely looks down at his feet, mumbling ‘Bad Sneakers’ before passing out. 

                Masterfully directed by Vin Diesel, Fast Five is easily the best of the “Fast and Furious” series. The exploration of good and bad, alongside the latest musical trends, makes it a movie capturing the moment. I’d strongly urge everyone to see this, for Vin Diesel and Dwayne Johnston give the performance of a lifetime.

Cocktail Hour Playlist

Suppose you need a playlist for an important cocktail hour. This cocktail hour could make or break you. Quickly you head home and select your favorite songs, burn them onto a CD and create an hour long mix. Content with your mix, you put it on full blast and subject everyone to your secret love of death metal. People look at each other with unease as you sing “And the liars with be thrown into the funeral pyre” both ruining your chances at impressing others and ripping off The Doors’ lyrics.

Cocktail hours consist of people pretending to like jazz, a genre they otherwise avoid. Usually you hear endless renditions of a few jazz musicians’ greatest hits as the audience nods in agreement. None of them will ever be exposed or even willing to check out jazz outside of these various social functions.

What function this playlist serves then is twofold: 

To serve as an acceptable group of songs that you can get “buzzed” or “politely intoxicated” to. Being “politely intoxicated” takes a lot of skill, and generally means avoiding any potentially awkward situations while remaining coherent. I can’t teach this talent, but it requires hours of practice. 

Secondly, it should show off some classic artists and some that otherwise would remain unheard. It packs a punch in the right places and presents an eclectic, yet tasteful, mix. This is not intended to shock, but it is intended to increase interest in whatever it is you’re trying to steal (yourself, your personality, your brand, and your product/project/book/etc.)

1.       Wes Montgomery – West Coast Blues

This is probably the best opener I could find. Wes’s clean guitar playing and energetic (yet restrained) is a good way to open the quiet talking as the person with those sweet foods walks around. You sip a mixed drink of varying degrees of strength as you look for your favorite. 

2.       Red Norvo Trio – Night and Day

Vibraphone is one of those instruments made for YUPPIEs. Meeting the demand for an emotionally distant yet technically precise instrument, it is ideal for any cocktail hour. Besides, Red Norvo does a pretty good job with it, showing off his considerable skill with the instrument and is one of the few who tries to make it feel something. 

3.       Mulatu Astatké - Ené Alantchi Alnorem (I Can't Live Without You)

After the energy of the first two, this is the “beginning to get comfortable” song. Usually when you go to these things that first 8-10 minutes is what will make or break you. What Mulatu does is bring out those happy vibes and feelings of familiarity, that’s what he specializes in. Plus, if there’s a music snob there, you get some indie cred.  

4.       Jean-Claude Vannier - Danse Des Mouches Noires Gardes Du Roi

Vannier’s piece is pure confidence. You should be confident. That indie snob, if they’re a real indie snob, will probably give you a hug for this. It is a purely perfect song. 

5.       Washboard Rhythm Kings - Just Another Dream Of You

One of the most underrated artists I’ve ever had the pleasure to hear. Yes, those are actual washboards. 

6.       Henry Hall BBC Dance Orchestra - Waiting For A Call From You

I never get to mention this guy. Close to impossible to find any of his stuff, this is happy music. Giddy butterflies come out in the song, as he waits for a call from you. Yes, they had phones back then. 

7.       Art Tatum - Tea For Two

Art Tatum tends to impress. This is actually the only pure piano song on here; most are groups, duos, etc. No one notices, as the amount of work he puts in is equivalent to a small trio. 

8.       Duke Ellington – Warm Valley

Sure, Duke Ellington is an obvious choice. Whatever, you should be able to have one or two artists on here that people can say “Hey that sounds familiar”. Having the familiar near some of the lesser known artists makes the listener believe that they are either learning or already know a lot. 

9.       Os Ipanemas – Consolacao

This begins our “Bossa Nova” section. I know not everyone is a fan of this, but if those you’re trying to impress are either Bossa Nova freaks or Brazilian, this couldn’t hurt.

10.   Antonio Carlos Jobim – The Red Blouse

Practically screaming cocktail hour, this defines the slight giddiness cocktail hour tries to achieve. The drum work is persistent, fast, but not intrusive. 

11.   João Gilberto, Stan Getz, Antonio Carlos Jobim - Desafinado (Off Key)

Here’s that other one that people are bound to know. By now the Brazil theme should be in full effect. 

12.   Walter Wanderley - Minha Saudade

Sure, Walter gets tagged as elevator music. I find that categorization grossly unfair. His music has a sense of fun and playful unique to him. Really, no one else does what he did half as well. 

13.    The Penguin Cafe Orchestra - Zopf: From the Colonies

Give these guys a chance. I realize that they aren’t from Brazil but their sunny music fits in well. It is a shame about the Englishness.

14.   Novos Baianos - Brasil Pandeiro

What can I say, this is a celebratory song. The song breaks into pure colorful joy song in Portuguese. 

15.   Luiz Bonfa e Maria Toledo - Whistle Samba

Actually, there’s a good reason for putting this on. Each time I hear it I think about wandering around in Central Park, getting hopelessly lost. Some of my friends live up there, but they have more money than I do. 

16.   Sergio Mendes Trio - Vivo Sonhando

Most of the time Sergio Mendes specialized in cheesy Bossa Nova ‘pop’ covers. This is one of the few times I’ve heard him attempt something more serious. It is a real shame too, because it is an absolute wonderful song. 

17.   João Gilberto - Milagre

João has been on here before. In fact, so have most of the great Bossa Nova people (I wanted this to be an hour, so Astrid Gilberto, my apologies. But as much as I wanted to, “the Girl from Ipanema” is far too cliché a choice). The build on this song is great, and it sort of leads into a wonderful fade away of the music as the voices get closer and closer. 

Overall, this would work in the following scenarios:

-Your boss is from Brazil

-You have somebody who used to work with Henry Hall when they were a kid. That would mean that person has lived an extremely long life.

-No one is a Sociology major (Sociology majors usually point out how Bossa Nova evolved from the Favela to more upscale neighborhoods and thus is a gentrification of sorts of more traditional music. Uff that)

Hopefully this will go over well at your next cocktail hour. I want to know how this works in a larger setting as well, so hopefully I can play it at a party. We’ll see.

Antonio Carlos Jobim – Wave 8.6

Bossa Nova ranks among one of my least understood loves. At least with most of the music around, there’s at least an audience who relates to why I like this or that, for ironic or un-ironic purposes. With Bossa Nova though, I actually enjoy some of the artists. Yes, I know how much of it comes across as very cheesy, but that makes my job harder. When I tell people that I genuinely enjoy some Bossa Nova they assume I’m talking from such a far level of irony that they can’t possibly imagine what’s going through my mind.

Originally I listened to this in a purely ironic way. But somehow, the mellow music infiltrated my soul. After a while, I stopped playing it only when I wanted to play Halo with people and have something funny in the background as I shot gunned people in the face. Instead, I realize how good of an album this actually is.

That hip Brazilian coolness is on fully display here. Beginning with the one of the most understated openings ever “Wave” it segues perfectly into “The Red Blouse”. For a while, The Red Blouse was my happy song. I’d play it and its quiet cheerfulness entered my head. Surprisingly energetic for Bossa Nova, with some of Antonio’s excellent guitar playing on full display. Due to its length, it gives off a hypnotic quality with the slight variations.

Violins play throughout the whole affair, often as something coming from afar. Yes, I can see how this could turn off some people, since it could be seen as mere waiting room music, but it is waiting room music with a soul. If I had this playing on a lite FM radio station as my teeth were cleaned, I could think of worse things.  The worst things being Billy Joel, Dave Matthews Band, and anything else played at lame parties.

In fact, there’s only one vocal track on here, and it is Brazilian singing. For whatever reason, I enjoy it. Hopefully at some point Bossa Nova gets some sort of resurgence in popularity. Then I can play my favorite song on here “Antigua” and have people recognize it, instead of looking at me like I’m half-crazy.

Actually, if I had to suggest a starting point for someone getting introduced to Bossa Nova, it would be a toss-up between this album and Stan Getz’s better known “Getz/Gilberto”.