An astonishing new album by Siba

Brazilian Songwriter Siba Releases "Coruja Muda", His Third Album.
He Will Tour in Europe in 2020

Wrapped by Coco and its thousand varieties of rhythm and poetry, the project is composed of 11 tracks and features the special appearances of Alessandra Leão, Chico César, Mestre Anderson Miguel and Renata Rosa.

Coco. Coco de Roda, Embolada, Rural, Zambê and Toré. These are the Brazilian rhythms that deliver, one by one, much of what the public will hear on the hot "Coruja Muda" Siba's third solo album. Already available on all digital platforms, released by EAEO Records and YB Music, the project consists of 11 tracks of short verses and insistent choruses, sometimes with long developments of the theme.
From this, everything shuffles to the most fundamental references of the artist. These include the popular culture of Pernambuco's Mata Norte, Brazilian popular music of north-eastern descent and inspired by the region's oral poetry traditions, African diaspora music and its reflux in the continent's modern music, especially in the Congo.

In the lyrics, a clear reflection of the undefined space that exists between people and animals. "The truth is that every record starts when the previous one is released. Or before. It's not difficult for me to get bored of the present and projecting an invented future, still in the recording process. But it is on the road that the open questions of one project begin to surface and demand answers in the next."

From Avante (2012) to De Baile Solto (2015) had the reincorporation of the lost rhythm and the political dimension, impossible to deviate. When rhythm, poetry, and politics understood each other, I already had a body of random text sketches that contained images of animals, animal people, or people animal. For a while I wondered what the hell to do with it, until I realized that precisely the blurring of the boundaries that separate man and animal could be the connecting point.
We don't know very well where the animal ends and the man begins in us. We use animal allegories to exalt and to humiliate. Sometimes we treat animals better than people and at the same time we enslave animals just as we still enslave people. I played with this idea in various directions and found "Coruja Muda", who watches me and says nothing" Siba explains.

Produced by João Noronha, in partnership with Siba himself, the record also features songs that do not obey the main theme and are connected by sound, such as the recordings of "Toda Vez que eu Dou Um Passo, O Mundo sai do Lugar" and "Meu Time", besides the unpublished "Azda (Vem batendo Asa), a version created by Siba for the classic originally composed by Franco - a prominent African artist of the 70's.

In the vocals there are the special appearances of Alessandra Leão, Chico César, Mestre Anderson Miguel and Renata Rosa. In the instrumentals, Arto Lindsay (guitar), Dustan Gallas (keyboards /synth), Edgar (ultraste), Trombone Galician (trombone), João Minuto (tenor sax), Leandro Gervázio (tuba), Lulinha Alencar (accordion), Ricardo Carneiro (guitar), Roberto Manoel (trumpet). At the base, Rafael dos Santos (drums), Lello Bezerra (guitar and bass), Mestre Nico (voice, percussion and trombone).
Signing the cover photograph, José de Holanda. The art direction is by Marcelo Subrín and Siba.
About the message that "Coruja Muda" hides between the lines, the poet asks: "How is it possible to build a world in which different ways of "being people" can coexist?".


"Only People Who Say It" is divided into two parts. The first is a tucked in tenths, the second an unrecognizable thrust of axé. The animal lays and rolls overcoming humanity, in coherence and dignity, throughout the lyrics.

"Tamanqueiro" is a real letter, written in a blistering rhythm, with the purpose of ordering a Clo for daily use. This bilete is true. In the instrumental part in which the Clog is manufactured, one can hear Arto Lindsay, Edgar, Rafael dos Santos and Dustan Gallas working with dedication.

"Barato Pesado" is an angry frevo or the opposite. Mystic pamphlet of exhortation to the immediate and absolutely necessary conversion to any form of worship for the life and joy of the present. Anthem of the feast as a basic element of religious exaltation.

"Tempo Bon Redondin" is useless rush against the time passing. Hymn to laziness and updating of the tired thesis that it is not worth taking anything so seriously. "On this one, the Synth is played by Dustin Gallas".

"Coruja Muda" was inspired by an audio by Fabio Trummer asking photographer José de Holanda the perfect weather conditions for a photo to be taken. It talks about what may be a part of my animal side in this whole story. Who sings in the end the voice of the Owl is Chico César and the Pajé is Mestre Nico.

In "Daqui Pracolá" fauna and flora from my childhood experiences in Agreste from Pernambuco play life and fight death.

"Carcarà de Gaiola" There are animals that were not made for the cage. When you're stuck, you carry many inside with you. I couldn't avoid Baque Solto, not even on this record. In the orchestra, Galego do Trombone, Roberto Manoel and Maestro Minuto, from Fuloresta.

"Azda (Vem Batendo Asa)" is a definite testament to the wooden face and this poet's lack of awareness of making a version of a classic of Congolese music that has always haunted him for its beauty. Before giving up I found out that the song was actually a Franco jingle for a Volkswagen store in Kinshasa. Nothing is that serious after all.

In "O Que Não Há" I take a step toward the verse, though it doesn't get far. It has a lot more influence on Franco's long songs with the band OK Jazz in the 70's than he could hide.

"Toda vez que eu dou um passo / O mundo sai do lugar" is the updated version of this song that I have to play even when I don't want to. It has gone through all the mutations my work has undergone since it exists. It's the song that closes the shows too.

"Meu Time" is the second extra track on the disc. That's because I grew a lot with the versions and the years of road and to prove that I'm not opportunistic. I was silent at the World Cup and relaunched the off-season track once again.

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