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anticipation · 01-15-2010, 06:57 PM

No Sub Reino dos Metazoarios by Marconi Notaro (1973)

Track listing:
Desmantelado
Ah Vida Avida
Felicidade
Maracatu
Made in PB
Antropologica No. 1
Antropologica No. 2
Sinfonia em Re
Nao Tenho Imaginacao Pra Mudar de Mulher
Ode a Satwa

After Lula recorded Satwa with Lailson he headed back to the Rosemblit studio in Recife with another member of Abracadabra, Marconi Notaro. Marconi Notaro was a poet who lived in obscurity his entire life; his poetry is so rare that few people in his hometown of Recife even knew he was a writer. However, aside from self-publishing 7 full books of his verse, Notaro’s only other contribution to the movement was his one and only album, recorded with the help of Lula, Zé Ramalho, and several other studio musicians that helped with Satwa. Notaro exposed himself as a more-than-capable songwriter and singer, and with the development and acquisitions of more technologically-advanced equipment he was able to craft a damn good album. No Sub Reino dos Metazoarios is an important album for Lula & Company, as it marks the recording debut of future Brazilian phenom Zé Ramalho (who Lula would later record the mind-blowing Paebiru with), and it also contains some of the first traces of Lula’s exploration with echo, reverb, and a slew of other electronic effects. Musically, No Sub Reino do Metazoarios stands between the raga-trance of Satwa and the psychotic improvisations of the Comus-like mindfuck Paebiru. Still evident are Lula’s obsession with Indian influences and the presence of early American psychedelica, but this album also incorporates fuzz-drenched funk, pure African tribal drumming, and British Invasion-esque tonality. What results is a musical journey through the underbelly of Recife’s then-burgeoning art community.

The opening track to No Sub Reino dos Metazoarios is Desmantelado, a bossa nova piece rife with upbeat acoustic guitar and the first known recording of Lula’s tricordio. A catchy little ditty that doesn’t stray far from what was popular during Abracadabra’s time, which may be why it’s one of the more tame tracks on the album. As we move on to track two, we are immediately hit with a dose of Lula’s trademark lysergic sound. Ah Vida Avida, which translates to “Oh Eager Life”, is chock full of weirdo moaning, Satwa-like raga trance, and intricate melodies from both acoustic guitar and tricordio. Next is Felicidade, which wouldn’t sound out of place on the Haight-Ashbury scene. It sounds like very very early American psychedelica, and utilizes some groovy percussion and frenetic strumming to create a great tune. I really dig this kind of stuff, so I can appreciate the throwback to the 60s stuff in favor of making the album a little more bearable for those without a more eccentric musical palate.

While Lula albums are not known for filler, the 49 second Maracatu is just that: a percussion-only track meant to serve as a segway into the scorching Made in PB. Tailor made for an acid trip, Made in PB features Robertinho’s devastating performance on the electric guitar coupled with some soulful singing by Notaro. This is one of the standouts of the entire album, and warrants an infinite amount of repeated listens. Next up are the twin songs Antropologica No. 1 & Antropologica No. 2. These two are strange tunes, but they have a great sound and really showcase Notaro’s songwriting capabilities. By exposing himself through Antropologica No. 1, and later Nao Tenho Imaginacao Pra Mudar de Mulher, Notaro makes me want to learn Portuguese just to see what the hell he’s talking about. His vocal style is very bluesy, yet authoritative at the same time. A near-universal characteristic of Abracadabra is the lack of timidity, and these two tracks certainly exude confidence and joy.

The latter half of No Sub Reino dos Metazoarios contains some of the best tracks Lula ever recorded, specifically the 6 minute Sinfonia em Re. It’s reminiscent of American folk in a way that brings out all the best qualities folk has. To me, it’s the quintessential track to define this little movement; it’s rollicking and free, while still coming across as just a simple improvisation between friends and colleagues. My favorite song has to be Nao Tenho Imaginacao Pra Mudar de Mulher, if only for the fact that Notaro’s poetry is so beautifully read. The amount of emotion seeping through the background music and vocals really hit home for me, even if I can’t explain why. I’m sure I’m not the only one with a deep affinity for this song, and I’m hoping some of you dig it like I do.

In my eyes, what makes this album a keeper are all the little styles that Robertinho managed to capture so well through Notaro’s music. You’ve got distorted folk-sludge, poppy American psychedelica, odd sounds and lullaby notation, and bossa nova tropicalismo all bumping elbows on the same album. Believe me when I say that this is where Lula begins to really hit his stride, both as a musician and as a performer. These collaborations are as fascinating as they are sonically gorgeous.

01-15-2010, 06:57 PM	#8 (permalink)
anticipation Music Addict Join Date: Jun 2005 Posts: 3,565	No Sub Reino dos Metazoarios by Marconi Notaro (1973) Track listing: Desmantelado Ah Vida Avida Felicidade Maracatu Made in PB Antropologica No. 1 Antropologica No. 2 Sinfonia em Re Nao Tenho Imaginacao Pra Mudar de Mulher Ode a Satwa After Lula recorded Satwa with Lailson he headed back to the Rosemblit studio in Recife with another member of Abracadabra, Marconi Notaro. Marconi Notaro was a poet who lived in obscurity his entire life; his poetry is so rare that few people in his hometown of Recife even knew he was a writer. However, aside from self-publishing 7 full books of his verse, Notaro’s only other contribution to the movement was his one and only album, recorded with the help of Lula, Zé Ramalho, and several other studio musicians that helped with Satwa. Notaro exposed himself as a more-than-capable songwriter and singer, and with the development and acquisitions of more technologically-advanced equipment he was able to craft a damn good album. No Sub Reino dos Metazoarios is an important album for Lula & Company, as it marks the recording debut of future Brazilian phenom Zé Ramalho (who Lula would later record the mind-blowing Paebiru with), and it also contains some of the first traces of Lula’s exploration with echo, reverb, and a slew of other electronic effects. Musically, No Sub Reino do Metazoarios stands between the raga-trance of Satwa and the psychotic improvisations of the Comus-like mindfuck Paebiru. Still evident are Lula’s obsession with Indian influences and the presence of early American psychedelica, but this album also incorporates fuzz-drenched funk, pure African tribal drumming, and British Invasion-esque tonality. What results is a musical journey through the underbelly of Recife’s then-burgeoning art community. The opening track to No Sub Reino dos Metazoarios is Desmantelado, a bossa nova piece rife with upbeat acoustic guitar and the first known recording of Lula’s tricordio. A catchy little ditty that doesn’t stray far from what was popular during Abracadabra’s time, which may be why it’s one of the more tame tracks on the album. As we move on to track two, we are immediately hit with a dose of Lula’s trademark lysergic sound. Ah Vida Avida, which translates to “Oh Eager Life”, is chock full of weirdo moaning, Satwa-like raga trance, and intricate melodies from both acoustic guitar and tricordio. Next is Felicidade, which wouldn’t sound out of place on the Haight-Ashbury scene. It sounds like very very early American psychedelica, and utilizes some groovy percussion and frenetic strumming to create a great tune. I really dig this kind of stuff, so I can appreciate the throwback to the 60s stuff in favor of making the album a little more bearable for those without a more eccentric musical palate. While Lula albums are not known for filler, the 49 second Maracatu is just that: a percussion-only track meant to serve as a segway into the scorching Made in PB. Tailor made for an acid trip, Made in PB features Robertinho’s devastating performance on the electric guitar coupled with some soulful singing by Notaro. This is one of the standouts of the entire album, and warrants an infinite amount of repeated listens. Next up are the twin songs Antropologica No. 1 & Antropologica No. 2. These two are strange tunes, but they have a great sound and really showcase Notaro’s songwriting capabilities. By exposing himself through Antropologica No. 1, and later Nao Tenho Imaginacao Pra Mudar de Mulher, Notaro makes me want to learn Portuguese just to see what the hell he’s talking about. His vocal style is very bluesy, yet authoritative at the same time. A near-universal characteristic of Abracadabra is the lack of timidity, and these two tracks certainly exude confidence and joy. The latter half of No Sub Reino dos Metazoarios contains some of the best tracks Lula ever recorded, specifically the 6 minute Sinfonia em Re. It’s reminiscent of American folk in a way that brings out all the best qualities folk has. To me, it’s the quintessential track to define this little movement; it’s rollicking and free, while still coming across as just a simple improvisation between friends and colleagues. My favorite song has to be Nao Tenho Imaginacao Pra Mudar de Mulher, if only for the fact that Notaro’s poetry is so beautifully read. The amount of emotion seeping through the background music and vocals really hit home for me, even if I can’t explain why. I’m sure I’m not the only one with a deep affinity for this song, and I’m hoping some of you dig it like I do. In my eyes, what makes this album a keeper are all the little styles that Robertinho managed to capture so well through Notaro’s music. You’ve got distorted folk-sludge, poppy American psychedelica, odd sounds and lullaby notation, and bossa nova tropicalismo all bumping elbows on the same album. Believe me when I say that this is where Lula begins to really hit his stride, both as a musician and as a performer. These collaborations are as fascinating as they are sonically gorgeous.