Bmore Mambo goes Funk Carioca!
NaurÊa from Aracajú (capital of Sergipe State in the Northeast of Brazil) plays what they call Sambaião. As the name already suggests, it’s a mixture of Samba and Baião (one of the music styles that later became Forró), but that’s not all. The band receives other influences from Brazil and abroad: from African elements, Reggaeton, Caribbean guitars from Pará State, to Rap, among others. The idea is to show the potential of Forró creating an own sound with local accent.
With their new EP they invite to enter the “Dansanteria”, a mix of the words “dança” (dance), “santeria” (path of the gods) and “danceteria” (discotheque).
Bondoro is a quite new dance and music style from Beira, Mozambique’s second largest city in the central part of the country. In several aspects it is similar to South African Kwaito and Kuduro from Angola. Bondoro is a slang word that means plaster and that name was given to the dance because of the first moves where the dancer seems to have a plaster on one of his extremities.
Download some tunes here.
STANK is a duo formed by DJ Dolores and Yuri Queiroga. Live they value improvisation, mixing original tracks with records, samples, guitar and gadgets leading to a rare case of combination of experimentation and full dancefloor.
The EP is a compilation of remixes done for artists of different origin, from Maga Bo to the traditional group Coco Raízes de Arcoverde passing by Eddie, China, Naurêa and an own track.
Get the EP for free here or listen to some of the tracks:
“Wladimir Gasper, nephew of a Russian filmmaker, was born in Ukraine and came to Brazil when he was still young. He left the former Soviet country to venture into the inspirations of the tropics and created his bunker here. He could be a metaphysical or a freestyle philosopher, but is a musician among zillions of other things.
Thus, the artist Pedro Bernardes transforms his inner psychedelic reality into unusual sounds, which can be marked to the beat of his own body. Full of metaphors and improvisations, he’s a guy of intersections, no belongings: ‘I like to materialize music dynamically, independent of instruments or styles. My sound is like a puzzle: I have the pieces, but I can arrange them the way I want.’ says the beat-maker, instrumentalist and arranger. In the fantastic world of “vintage instruments” Wladimir Gasper lives a talented musician who always plays live.
He is self-taught, says he has no knowledge of aspects, schools and does not invest a lot of time to listen to other artists. His commitment is to himself and his ideas, which turn into dazzling sonorities.
- ‘It’s not necessarily a music that will influence me, it’s the people, an attitude, an architecture. It’s all synesthesia. I relate to the sound in an immaterial form, it’s spirit. I have so much fun in this intimate process of creation and experimentation. It is a joy when you have an inspiration in mind and can materialize it’ he reveals.
Despite appearing to ramble in a parallel world, Pedro, 28 and from Rio, is inserted in various means, doing a bit of everything, as he has complete aversion to labels. He has worked with artists such as MArcelo D2, Gabriel Pensador, Bebel Gilberto, Timbaland, Carlinhos Brown, Sergio Mendes, Marisa Monte, Mario Caldato, Seu Jorge, Beck, John Legend, among others. Experiencing the creative process in other areas, he designed a cradle-harp which was selected for the Design Fair in Dubai 2012. He directed the film presentation for the para-Olympic brand and created the sound for it.
- ‘I never wanted to stop and pick something to do. I never had existential questions. I’m naturally allowed to be spontaneous. I do what I need yo, it’s physiological, my health. Confusing stimulates me more than explaining,’ the multiinstrumentlist says in a freestyle way of speaking.
Pedro takes the tone of improvisation to the places where he plays, always in the company of his case which is loaded with electronic beats and free organics, a bunch of multi-effects, synthesizers and a few other toys.
- ‘What I like is the load of presence, the energy devoted to that particular moment I’m playing, the emotion I feel at the time, I think it prints my identity, my production has a very strong accent of the now’, states Pedro.