TRIBALISTAS

If there is an inherent weakness in the so called “new generation of MPB”, then it would be its tendency towards the ostentatious - the will to turn every single initiative into a “manifest”, an “event” or a “cultural landmark”. These pretensions could really affect the listening experience of Tribalistas, a project conceived in secrecy and released (as well as received) with splendour and salutes. There were many that in the trio Marisa/Arnaldo/Brown saw a modern edition of Tropicália, a 2002 version of the Doces Bárbaros, or simply “the best record ever of last weak”. (Though it has to be said; all this spectacle is a result more of media hysteria than because of the artists themselves. Although they too are somewhat to blame). If we could only enjoy the album, without expectations or preconceived opinions. The story would be so different. What we in that case would look at, would be only; a female singer that combines songwriting talent with a good dose of personality (something that is becoming increasingly more rare among female artists these days); one former pop-rock artist that now works with authentic and unconventional experimentalism (although always the subject of ups and downs); and one mysterious Bahian, Carlinhos Brown, that alternates demonstrations of melodic brilliance with rubbish unworthy of a serious artist. The three have had and still have much to offer when working together. If we could only concentrate on the music, and nothing else… Interestingly, and contradictorily the music of Tribalistas has little if anything to do with the myths and spectacle created around the trio. It is a simple record, with somewhat sparse instrumentation (even the “polypercussion” of Brown is toned down), and it is almost entirely acoustic. If you would sum up the percentage of each artist’s influence on the final result, you could say that the album is 65% Marisa (around Cor de Rosa e Carvão), 25% Brown and 10% Arnaldo. Direct, catchy melodies – pop, in short – characterise the whole album, and most clearly when Marisa is in the forefront (as for example on the delicate Você and Carnalismo), or when playing on the strangeness of Arnaldo’s interpretations – the best examples of that being O Amor É Feio, with lyrics that reminds you of the Tudo Ao Mesmo Tempo Agora-phase of Titãs and Passe em Casa. Everything invoke a sense of gentleness, even the naturally bouncy Carnavália and Já Sei Namorar (mischievous and pop, sounding something like a Bahian version of Pato Fu). Wrapped up in an aura of “peace on earth and goodwill”, even the least pretentious songs – like the simple and silly Mary Cristo and Anjo da Guarda – sound extremely attractive. (Translated from Portuguese by Philip Jandovský.) (Marco Antonio Barbosa)