Sergio Mendes & Brasil '66
Sérgio Mendes
Keywords
Reviews (4)
PopMatters
d. 20. Sep. 2016
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Adriane Pontecorvo
d. 20. Sep. 2016
"On opening track "Maquinário", singer Luiz Gabriel-Lopes sounds almost identical to a young Caetano Veloso, and the Tropicália spirit thrives throughout the album as Graveola experiments with psychedelia and West African-inspired rhythms. Echoes of more esoteric artists like Os Mutantes and Tom Zé touch each song, as well, and penultimate track "Back in Bahia" directly references Gilberto Gil's post-exile song of the same name. But Graveola lives in the present, and its third album proves it with everything from songs about the trials and tribulations of living in the age of the Internet to the struggles and protests of native Brazilians during the anti-demolition protests leading up to the 2014 World Cup. An ode to smokable herbs and love songs about seas and summers help to round out an all-encompassing album".
The guardian
d. 11. Aug. 2016
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Robin Denselow
d. 11. Aug. 2016
"Graveola are from the inland city of Belo Horizonte, where they pioneered a style that once involved toy instruments and lyrics about social issues ... Their current style combines angry and surreal lyrics in an easygoing, melodic style that features bursts of pop, jazz and rock. To this they add unexpected rhythm patterns from Brazil's north-east or the Cape Verde islands, along with a dash of reggae. It's an original, gently subtle set that sounds better with every listen".
Afropop worldwide
2016
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Banning Eyre
2016
"Graveola today marshals formidable musical dexterity and a flare for melodious and rhythmically complex pop compositions. Furthermore, these compositions and arrangements display deep understanding of, and easy freedom with, a range of Brazilian musical styles from maracatu and bossa nova to tropicalia and MPB, as well as genres from Cape Verde, Argentina and the Caribbean, all stitched together with arranging chops worthy of late-Beatles art pop. The musicians describe their songs using terms like "carnival cannibalism," "shamanic funaná," "psychedelic maracatu," "weird salsa," and "schizo-rock-fake-reggae." Behind these playful and sometimes brilliant genre mashups there is the band's gonzo poetry of resistance and social activism".
Mojo
2016 November
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David Hutcheon
2016 November
"Surprisingly, the third album from the Belo Horizonte sextet lives up to PR hype about their links to Os Mutantes and the other greats of tropicália. Imaginative, derivative and warped (...), with a great line in melodies and arrangements, they throw in for good measure samba, rock, folk rhythms and classic pop, all to tremendous effect".