Listen to 405 Radio
Lucas Santtana - Sem Nostalgia

Lucas Santtana - Sem Nostalgia

by , 15 August 2011

Brazilian music is more than the ghost of tropicalia. Relying as much on the music of carnival scenes as the beauty of acoustic guitar and voice, the country’s music is a rich tapestry of emotion and sound culled from minimal sonic sources. From Caetano Veloso to João Gilberto, six strings and a working larynx have been proven to be the most needed in a good percentage of cases. Yes, the fuller works of added horns and strings can blow away lesser albums but at the heart of it all, the desire to create will outweigh the possible shortcoming of not having a trumpet. Lucas Santtana has become a new force in the tradition’s scene, forging through three previous albums all hinged on a single idea. Before his latest, Sem Nostalgia concerned itself with the solo voice and guitar archetype, his excursions through dub and funk were recontexturalizations and experimentations within the style while rooting itself in a style indicative of modern electronic. Sem Nostalgia now turns the concept of one guitar on its ear by having every sound that isn’t obviously a vocal derived from an acoustic guitar. But can conceptual know-how be a replacement for lack of structure?

Simply put, this is an album built around pedals and manipulation. Rarely does a song exist for more than five seconds here without displaying heavy modification of some instrument. From the first minute of opener ‘Super Violão Mashup,’ Nostalgia maintains an air of meticulous computer arranging. Drum sounds unfold after repeated listens, revealing the texture of acoustic body slaps and string jangles in place of shakers and hi-hats. And if the hiccupping portamento’d guitar line doesn’t turn you off, then prepare for a schizoid trip through the vox e violão genre. ‘Who Can Say Which Way’ is an effective composition but suffers from tepid political sentiments and awkward phrases like, ‘Food fighting starts/Get out of hand…Freak of machine,’ which ultimately mean about as much as the typical Black Eyed Peas “commentary track.” When Santtana ditches the need for overt reference, the true skill of his craftsmanship comes to the fore, as witnessed in delicate ambience and hushed delivery of ‘Night Time in the Backyard’ and ‘Natureza #1 em Mi Maior,’ tracks which recall the simple works of Wyrd Visions and even ‘Sleeping On The Roof.’ When the concept overtakes the music, a problem arises. Not so much an issue of listenable music as one of underwhelming to boring experimentation for experimentation’s sake. ‘Recardo pro Pio Lobato’ goes nowhere and overemphasizes a harmonizer and delay too often, resulting in a grating texture that sounds half-accidental. Next to the Mount Eerie-ish softness of ‘Hold Me In’ (which sounds remarkably similar, chord-wise, to ‘It Wasn’t The Hunting’) and the ring modulated, dub-inspired Bossa Nova of ‘Amor em Jacumã’ the misses are glaring errors of judgment that imply conceptual continuity for conceptualization’s sake, an ethos that only pans out when the guitar retains its natural timbre as in ‘I Can’t Live Far from My Music’ or ‘Cá pra nó,’ a song that interpolates moments of sustained Jonny Greenwood-esque drones to great effect as a foil to the soothing strums that come to dominate.

As amusing as amassed rapid-fire edits can be, and as damn good as glitch can be, Santtana is best suited to the genre traditions imbued with his sense of experimental technique. When he lets completely manipulated tracks breathe, their presence stifles the otherwise successful combination of effected guitars and simple but classic Brazilian melodic senses. More evocative of a passing period than a steadfast adherence to this sense of sound play, Sem Nostalgia is about the push-pull relationship between genuine skill and the passing vagaries of spur-of-the-moment interest. When suited to forward-thinking voice and guitar, Nostalgia is a pining and touching look at the music of a nation through the years of political turmoil and artistic stifling. When geared to its navel-gazing computer music, Nostalgia becomes an unholy union that ought be doused in holy water.

Rating: 7/10

Purchase and listen

Related Reviews

  • Gemma Garmeson - Stalking For Dummies

    Gemma Garmeson - Stalking For Dummies

    by Gemma Rutter

    Label: A to B Records Release date: Out Now Website: http://www.myspace.com/gemmagarmeson Buy: Amazon Gemma Garmeson is a performance poet. Her song writing style is heavily based on exact rhymes and sound play. This, to some extent, is refreshing; she has a nice, banjo-over the knee jolliness. Sadly though, ‘Flip Flop’ puts me in mind of a music lesson for primary children, where, forced to sit in a circle, they shout and bounce along to the catchy chorus. I hope that the image of... [read more]

  • Is Tropical - When O' When

    Is Tropical - When O' When

    by Ryan Barham

    Label: Hit Club Release date: 18/01/10 Website: http://www.myspace.com/istropical ‘When O’ When’ opens with an inconspicuous and grounded folky sound, but it’s not a sign at all of what is to come. A minute passes fairly flatly before the vocals truly kick in over the acoustic guitar and increasingly captivating keyboards. Still remaining relatively quiet for the next half a minute, the singing slowly becomes more distorted and filthy electro beats gradually come to the fore. Aft... [read more]

  • Draw Me Stories - The Unplugged Sessions

    Draw Me Stories - The Unplugged Sessions

    by Gemma Rutter

    I am not comforted by the assurance that ‘there are spiders inside us all’. I am hauntingly aware that we eat around eight in our lifetime. To make matters worse, this is repeated several times, as I gulp and shiver my way through track one. On the upside Carl Hodgett has a lazy drawl of a voice, stuck somewhere between Kings of Leon, Pearl Jam, and Radiohead. The kind of voice that insists on head swaying, and gentle musings. The inflection of drums, slices in nicely to otherwise slow me... [read more]

  • We Are Trees - Boyfriend

    We Are Trees - Boyfriend

    by Matthew Olmos

    Label: Self released Release date: 23/08/10 Official Site Well, here we are with 2010 more than halfway over. I’m sure by now all the writers here at The 405 and some of our readers have begun to calculate what may be in their top lists of the year. How many of you wish that there was a Veckatimest for this year? Well, fret not for somebody heard your pleas and took the idea behind the sound of the album and mangled it! Yes, We Are Trees are indebted to Chris Taylor, but have added a t... [read more]

Comments

Follow Us

Recommended Posts

Popular Posts

Mailing List

Sign up to our weekly mailing list.

Around The Web