China is a rare jewel. Where else in the music market can you find a singer who is able to scream like Iggy Pop, sing deeply like a João Gilberto fan, and refine the romanticism of the Jovem Guarda Movement- in a less naive tone than this one?
On what corner could you stumble upon a lead singer who is able to drive married ladies, young virgins and cool undergraduate students wild, without having to put on fashionable looks or showing off a muscular body? What's more: the guy can work as well in a studio as he can on stage. And he even writes sort after verses, with catchy choruses.
SIMULACRO (record label Candeeiro) is his second solo album. He started as a young boy, in 1997, in the borough of Bairro Novo in the city of Olinda, leading Sheik Tosado, screaming as if he was possessed. He sent everything to hell and moved on (“I quit because I was tired of it”) with his solo career. He tattooed Roberto Carlos's face on his leg and incorporated Erasmo's partner in the Del Rey Project, an exciting dive into Your Highness's work of art. He recorded an EP and built a home studio with the help of his friends, he studied journalism, got married, had kids, planted a tree...
In order to record SIMULACRO, China gathered a top team: from the band Mombojó, Chiquinho (keyboard), Marcelo Machado (guitar), Felipe S (guitar and electric guitar) and Vicente (drums). Hugo Gila is in charge of the bass guitar. Ximarú (China's brother and the best guitarist-historian around), Rafael B (from the band Bonsucesso Samba Clube, drums) and Pupilo (drums) complete the guest list. Pupilo also helps with the production. They're open-minded folks, who are able to run through 10 compositions without hiccoughs, compositions which flirt with the idea of being psychedelic, the Brazilian samba and the rock'n'roll of the 60's. But, note: the references mentioned here do not imply nostalgia, nor do they long for the past and the like.This is an album that really knows the ground on which it treads: we're in the new Millenium and not in any idealistic past.
SIMULACRO, in this sense, coments on (and is ironic about) the inevitable (and endless) flirting with the national and international pop music of the past decades. Neither does it flaunt the fetish of the new nor does it miss it to bits. It updates the references to build a sound connected to here and now. It is the first great album of the 2007 Brazilian harvest.
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China é jóia rara. Onde você encontra no mercado um vocalista capaz de
berrar como Iggy Pop, cantar baixinho como um fã de João Gilberto, e
destilar romantismo jovem guarda – em registro menos inocente – como esse?
Em que esquina você esbarra com um frontman capaz de enlouquecer senhoras
casadas, jovens virgens e descoladas estudantes universitárias sem apelar
para o visual da moda ou ostentar um corpo marombado? E mais: o sujeito sabe
trabalhar tão bem no estúdio quanto no palco. E ainda escreve versos
certeiros, com refrões grudentos.
SIMULACRO (selo Candeeiro) é o seu segundo trabalho solo. Ele que começou
ainda garoto, em 97, no bairro Novo, cidade de Olinda, à frente do
Sheik Tosado, berrando como um possuído. Que mandou tudo para o inferno e
seguiu em frente (“saí porque tinha cansado de fazer aquilo”) em carreira
solo. Que tatuou Roberto Carlos na perna e incorporou o parceiro de Erasmo
no projeto Del Rey, estimulante mergulho na obra de sua majestade. Que
gravou um EP, construiu com os colegas um estúdio caseiro, estudou
jornalismo, casou, teve filhos, plantou árvore...
Para gravar SIMULACRO, China reuniu um time de primeira: do Mombojó, vieram
Chiquinho (teclado), Marcelo Machado (guitarra), Felipe S (violão e
guitarra) e Vicente (bateria). Hugo Gila encarrega-se do baixo. Ximarú
(irmão de China e o melhor historiador guitarrista da praça), Rafael B
(Bonsucesso Samba Clube, bateria) e Pupilo (bateria) completam a lista de
convidados. Pupilo assina também a produção. É uma rapaziada de mente
aberta, capaz de deslizar sem atropelos por 10 composições que flertam com o
psicodelismo, o samba e o rock brasileiro dos anos 60. Mas, atenção: as
referências aqui não implicam em nostalgia, saudosismo e coisas do tipo.
Este é um CD que sabe o terreno onde pisa: estamos no novo milênio e não em
qualquer passado idealizado.
SIMULACRO, nesse sentido, comenta (e ironiza) o inevitável (e interminável)
flerte com as décadas anteriores da música pop brasileira e internacional.
Nem ostenta o fetiche do novo, nem morre de saudades. Atualiza as
referências para construir uma sonoridade ligada ao aqui e agora. É o
primeiro grande disco da safra brasileira de 2007.
Por: Renato L
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