το δευτερο bossa nova αλμπουμ της βραζιλιάνας τραγουδοποιού cibelle
Artist:
CibelleAlbum:
The Shine of Dried Electric LeavesGenre:
Bossa Nova/JazzStyle:
acoustic, down-tempo, lo-fi, electro-grooveRelease Date:
2006Label:
Six DegreesLength:
63:57Track Listing01
Green Grass02
Instante de Dois03
Phoenix04
London, London05
City People06
Minha Neguinha07
Mad Man Song08
Por Toda a Minha Vida09
Flying High10
Arrête Là, Menina11
Esplendor (Refreshed)(Version)12
Train Station13
Lembra14
Cajuínaσελίδα myspace:
myspace page:
http://www.cibelle.net/
Six Degrees Presentation:
http://www.sixdegreesrecords.com/artists.php?artist=CibelleThe Shine of Dried Electric LeavesThe London-based, São Paulo raised, singer
Cibelle, (pronounced see-BELL-ee), burst on the scene in 2003 with her beautiful, smoky voice on her self-titled debut.
Her second album, The Shine of Dried Electric Leaves, is a quiet masterpiece, full of inventive and quirky arrangements. It combines r
ootsy acoustic instrumentation and electronic processing, noise guitars and children's toys, fascinating textural soundscapes and pure melodies. This record brings to mind such singular talents as
Björk and
CocoRosie. Like them, Cibelle is a gifted storyteller. She has a keen ear for unusual textures which give each of the album's fourteen tracks the power to surprise.
Cibelle has become a quick study in the control room too. She co-produced the new album, taking the tracks from London to São Paulo and back. Along the way she worked with producers
Mike Lindsay (half of the English folktronica band
Tunng) and
Apollo Nove, the visionary Brazilian musician who produced her debut album. He has his own psychedelic folk/alternative pop album, and is now being mentioned as the heir apparent to the late
Suba's title of "World's Coolest Producer." Finally, she mixed the album in Paris with
Yann Arnaud (former house engineer for
Air). As a result, the album has a strong international flavor. More than half of the songs on The Shine of Dried Electric Leaves are sung in English. In "City People," a quintessential Cibelle track, she turns an intriguing set of apparently random sounds into a sampled rhythm track (reminiscent of the refrigerator and cash machine that subtly color the sound of "Waiting" on her debut album.) Splashes and wisps from a dizzying array of an assortment of instruments make for a full, but not overwhelming sound and, for all its surprises, this is a tender, lyrical song. Cibelle's compositions are directly derived from her emotional life: she likens her life to a lab, where she is at once the hamster and the scientist.
Aiding and abetting Cibelle on the new album are the like-minded young Brazilian singer
Seu Jorge (best known for his David Bowie covers in the film The Life Aquatic) and French MC/beatboxer
Spleen (who's also working with
CocoRosie). Cibelle and Seu Jorge collaborate on "Arrete La, Menina," one of the most intriguing arrangements on the album. The song starts with the sounds of traditional flute and percussion, over a lilting, rocking accompaniment. Gradually add a healthy dose of
samba drumming and electric guitar, plus Seu Jorge's unique vocals, and you have something that's neither
Brazilian nor
indie rock but somewhere in between.
The duet with
Spleen is even more unusual. On "Mad Man Song," almost every sound is made by the two musicians – using their voices and a coffee setting, including spoons, sugarcubes and even the coffee itself.
Cibelle also offers some unusual covers, beginning with the
Tom Waits' "
Green Grass." Harp sounds, metal and wood percussion and a backwards guitar track move over a shuffling beat that would make old Tom proud. "London London" is a duet with singer/songwriter
Devendra Banhart. The song was written by
Caetano Veloso while he was living in exile in that city during the early 1970s. While both vocalists sing in English,
Banhart's voice has an eerie resemblance to Veloso's. On "Por Toda a Minha Vida," Cibelle's spare, nocturnal arrangements reinvent
Antonio Carlos Jobim's song as a piece of
glitch electronicaOther highlights on The Shine of Dried Electric Leaves include "Phoenix," a slow ballad that starts with a music box, adds electronic blips and twitters, then guitars, both forward and backward, and cello. By the end, the band has become steadily more rhythmic and electric. "Flying High" is an adventurous 6-minute epic over electronic beats that detours into a new key and texture halfway through, then takes another direction again towards the end.
Through it all, Cibelle's expressive voice ties the album's many musical threads together. As in "Minha Neguinha" she can lure you in with her intimate, sotto voce vocals, then ramp up to more emotive, all-out singing. It is perhaps "Instante de Dois" which crystallizes what Cibelle's music is all about: richly textured and highly produced, with her vocals floating serenely above the fray. There's a lot going on: layered keyboards, backwards guitars, the piano wandering into a different key. It's a Salvador Dali painting, where there's so much going on in the background.
The Shine of Dried Electric Leaves confirms what fans of her first album already suspected: Cibelle is one of the most inventive and distinctive musicians to emerge in recent years. Crammed.behttp://www.crammed.be/crammed/123/index.htmLike no one else we can think of, Cibelle makes use of a variety of elements to
create unique, imaginative and enchanting pieces of music. Lets not mince our words : her second album is a genuine masterpiece !
It combines rootsy acoustic instrumentation & electronic processing, noise guitars & childrens toys, captivating textural soundscapes & pure melodies carried by her unmistakable, moving voice.
Listening to each of the songs on The Shine of Dried Electric Leaves is like hearing a story and exploring a landscape full of surprises, all at once. Cibelle's lyrics and musical ideas are directly derived from her emotional life: she says she likes to use her life as a lab, and claims to be the hamster and the scientist all at once...
Pitchfork Mediahttp://www.pitchforkmedia.com/article/record_review/36957-the-shine-of-dried-electric-leavesThe London-based, Brazilian-born Cibelle turned to singing after an early acting career in commercials and on MTV Brazil, and she retains a dramatic polish in her sultry voice. After debuting on the late DJ Suba's São Paulo Confessions compilation, she released her loungey samba-pop debut in 2003 and followed it with an electronically tinged 2004 EP that prefigured the adventurous The Shine of Dried Electric Leaves. Working with producers Mike Lindsay, Apollo Nove, and former Air house-engineer Yann Arnaud-- as well as with a variety of covers (from Tom Waits to Caetano Veloso) and guest stars (from Devendra Banhart to Seu Jorge)-- Cibelle has crafted a sophisticated trilingual pop record, spinning twitchy electronics, American freak-folk, and Brazilian traditions into a glittering tableau. It actually has more in common with samba offshoots than first-order, rhythmically ostentatious samba: Samba-canção, a sort of soft and dreamy Brazilian tango; the finger-picked classical guitars and cool-jazzy sway of bossa nova; and the breezy plink of tropicalia all lay the foundation for Cibelle's stylish divagations.
The covers delight: Cibelle couches Waits's "Green Grass" in spooky twinkles of guitar, ice-blue arpeggios coalescing into a glassy lilt rounded out by tiny chimes. Waits' gruff drawl appears in the middle section, an earthy clod contrasting Cibelle's high, cold aether. Antonio Carlos Jobim's Portuguese-language "Por Toda a Minha Vida" is reborn as a torch-song simmering in a field of plosive bass tones and cool digital twitters. And her take on Caetano Veloso's exile lament "London, London" lightly swings from a tropical bounce to a vampy, busy-city crescendo; Banhart's guest turn is understated and suitably suave and naturalistic.
Most songs are embryonic at the outset, but Cibelle's stay that way by design. Listening to The Shine of Dried Electric Leaves, it's easy to imagine her sketching out ideas for full-bodied samba-based pop songs, then realizing how lovely the sketches were and deciding to develop their subtleties with sculpted electronics and creative cut'n'pasting instead of completing them in a more traditional sense. All the more radiant for their partial construction, Cibelle's songs are marked by a billowing drift, with pliant, meandering melodies and progressions that seem less linear than mutational, evolving toward realization by gradual degrees.
"Mad Man Song" features a guest appearance from Spleen, who's beat-boxed with CocoRosie; the song is constructed from the sounds of human voices and coffee accoutrements-- spoons, saucers, mugs-- establishing a deep and complex rhythmic field for the singer to riff on. On "Instante de Dois", svelte backwards-guitar loops lap at Cibelle's voice like a river at its banks, placid and abstract. "Phoenix" gathers gentle, glitchy force as clicky percussion snaps like scissors and watery chimes waver. The ticking "City People" is a weird little contraption with lots of tiny moving parts, a rich and organic first half moving toward a breezy swagger with big, squelchy downbeats in the second, and on "Minha Neguinha", folksy guitar, rattling percussion, and the trill of swelling keys comprise an edifice from which Cibelle's voice takes flight again and again, gracefully trailing feathers.
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