MÁQUINA DE ESCREVER MÚSICA

Moreno Veloso has not betrayed his DNA. Printed upon high pitch emissions, close to the falsetto, some tracks bring on the echoes of his father’s voice, although obviously younger. The songwriter/performer/musician is also related to two Caetanos: the avant-garde one, free to incorporate noise and feedback, and the João Gilberto heir - who perfectly matches voice and acoustic guitar. Backed up by the rest of the +2 trio and a number of guests (such as João Donato and Caetano), Moreno seems self-assured in his debut, while displaying the lightness of those who refuse to carry the weight of their predecessors, nonetheless without denying it. His approach to the afoxé from Bahia in Deusa do Amor, taken from Olodum’s repertoire, starts with a soft bossa nova cadence (made with sandpaper) and evolves into a progressive injection of dissonant sounds: a piano, a shovel, coconut shells and other tinkling objects.

Meanwhile (Moreno/Quito Ribeiro) goes further with its acoustic guitar and percussion, along with slightly philosophic lyrics found all over the album. The funk Arriverderci has a certain Jorge Ben Jor approach in the voice/percussion filled chorus. And the lounge bolero Para Xó brings the indelible swing of João Donato on the Rhodes piano. Also on the funky side, Assim comes with buzzing synthesizers and edgy sounds which are unthinkable for the FM radio format. With his father on the guitar, Moreno reviews the syncopated samba Só Vendo que Beleza (also known as Casinha na Marambaia), from 1942. Adorned with insinuating, subtle timbres (and even using a Theremin) and poetic promises, the album closes with Walt Disney’s Snow White overture theme, I’m Wishing. When they sing together, Moreno and Daniel (Tom’s grandson) Jobim, re-affirm their dynastic backgrounds. (Tárik de Souza)