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01. TELEBOSSA - Etude No. 8
02. TELEBOSSA - Basta
03. TELEBOSSA - Funeral De Um Lavrador
04. TELEBOSSA - Etude No. 11
05. TELEBOSSA - Nao So
06. TELEBOSSA - O Luar
07. TELEBOSSA - Chevrolet
08. TELEBOSSA - Etude No. 21
09. TELEBOSSA - Quireras
10. TELEBOSSA - Etude No. 12
11. TELEBOSSA - Tudo Que Ha
ARTIST
TITLE
Garagem Aurora
FORMAT
CD

LABEL
CATALOG #
STAUB 143CD STAUB 143CD
GENRE
RELEASE DATE
6/10/2016

With just their second album, Telebossa have successfully created their own musical language, an achievement that often takes others a lifetime of work. While their 2011 debut album (STAUBDIG 011CD/STAUBANA 005LP) saw Berliners Chico Mello and Nicholas Bussmann exploring the bossa tradition through role models such as Antônio Carlos Jobim, Caetano Veloso, and João Gilberto, their mixture of Brazilian-style elements and new music has now become a model in its own right. This time the duo is supported by one of the greats, Van Dyke Parks, best known for his collaborations with Brian Wilson (with later collaborators ranging from Joanna Newsom to Skrillex). "Discover America," Parks's mission statement from the 1960s (and the title of one of his rare solo albums), is now emblazoned on Telebossa's flag, in a testament to bossa nova's detour through the USA, which led to its inclusion in the canon of music history. Cello and guitar have disappeared from the Telebossa sound, replaced by vocals and player piano. And throughout, it is Chico Mello's delicate, fragile voice -- in the best bossa nova tradition -- which maintains the connection to the musical homeland of Brazil. However, the main theme of the album is also the classic conflict and cooperation between man and machine, represented by a juxtaposition of the almost inhuman perfection of the woodwind ensemble Aventure and Winfried Ritsch's pleasantly warm piano robot, Der Automat, programmed with unprecedented delicacy by Bussmann. And in the middle of it, the Chico Mello's vocie alongside Bussmann's cool, technoid electronics. The texts of "metaphysical engineer" Fernando Pessoa, who described the entanglements of technology, metaphysics, and corporeality at the beginning of the 20th century, perfectly complement the physical-mechanical musical interplay. Bussmann and Mello have landed a major coup at only their second attempt -- way beyond hype, ingratiation, and eclecticism for the sake of eclecticism. In short: Telebossa have arrived.