Otto, Sem Gravidade (Trama) 9+
Sem Gravidade (Without Gravity) concludes a trilogy of collaborations with producer Apollo 9, including
Samba Pra Burro (Samba Donkey) (1998) and
Condom Black (2001). The latter title is a play on words in tribute to candomble, Brazil’s Yoruban religion, culture and music. With daring mixes of electronica, cambaleada and modern dance rhythms, it was one of the most exciting Brazilian releases of the new era of Nova Música Popular Brasileira, leading a pack of young musicians (Lucas Santtana, Moreno Veloso, Max De Castro, Lenine and DJ Dolores) who were reinvigorating the freewheeling experimentation of Tropicália. With Dutch and Indian roots, Otto was originally a percussionist for Chico Science & Nação Zumbi and Mundo Livre S.A., illustrating why Afro-Brazilian polyrhythms are such an essential component to his music. But
Sem Gravidade finds him easing back somewhat on the electronica experiments, and focusing on cohesive songs and his voice, which is improving with age. This is immediately apparent on the celebratory “Lavanda,” as Otto projects his vocals with more conviction and melody than previous efforts. A tribute to poet Waly Salomão who died in May 2003, the album tackles issues of war, poverty in Recife, friendship, solitude and Nietzsche. It was conceived on a roadtrip through the Amazon up through Death Valley with singer/actress girlfriend Alessandra Negrini, who contributes some vocals. The styles reflect the vast differences between the terrains of their travels, from lush jungle to harsh desert, sometimes within a single song, such as “Pra Quen Tá Quente,” which leaps from gentle and smooth keyboards to an impressive rock slide of pounding drums. Balancing out the solitude from his travels, Otto invited several friends into the studio. Max De Castro contributes guitar to “Avisa Gil” (Informs Gil), and Rita Lee sings on “Tento Entender” (Try To Understand), centered around a groovy sixties mod/Byrds guitar riff. Her son Beto Lee (Nation I Buzzed) and Dadi (The New Bahians), B. Negão and Pupilo also contribute. Between the luminous pop beauty of “Amargosa,” the mutant country-reggae stylings of “Quem Sabe Deus”and the dubbed-out post-rock rhythms of the closing title track,
Sem Gravidade captures the essence of a lot of musical terrain in a challenging, rewarding sonic snapshot suspended in time and space to be enjoyed at our leisure. Otto’s ambitions seem to have no bounds, as he intends to tackle the mountains of Nepal. I get dizzy imagining the heights of the resulting musical inspiration.
-- A.S. Van Dorston
