"Na Hora de Ir"

Nacao Zumbi made just two complete albums before founding lead singer Chico Science was killed in a tragic automobile crash in 1997.  Those releases were enough to jolt Brazilian pop forever, and help launch “mangue beat,” a rebellious blend of roots, rock, and driving percussive groove that has endured and grown as a genre.  After Chico, Nacao Zumbi hung tight and forged on with four more, jamming releases.  None of these can fully match the composing flare or vocal charisma that the inimitable Mr. Science provided, but Futura is the best effort yet.  The songs are inventive and tuneful, the grooves slamming, and the layered arranging full of satisfying touches.

Tastiest of all, perhaps, is Lúcio Maia’s guitar playing.  From crunchy bass riffing, to snarling fuzz blast, to elegant, lush, Beatles-esque lyricism, Maia is a joy to hear every step of the way.  Many tunes are built around his clean, catchy hooks.  The lead track, “Hoje, Amahnãe e Depois” starts with a grinding guitar riff and then layers on tumbling maracatu percussion, a dark vocal chant, ambient electronica, and shards of twinkling, vaguely African guitar.  Beatles echoes also haunt “Na Hora de Ir” with its tremolo-tinged, punk-jazz vibe, and the melodious, ambling “Pode Acreditar.”  Elsewhere the funk and R&B references Chico Science so loved serve well.  The basic riff for “Respirando” sounds like a truncated “Heard it Through the Grapevine,” and “Ailha” evokes the deep, slow pocket of “Tell Me Something Good.” 

This is not to say there’s any lack of originality in Nacao Zumbi’s far-ranging mix.  The base of the sound is rootsy, swinging Northeast Brazilian drumming styles, notably the unerringly funky maracatu.  The earthy, trance-groove appeal that runs through all this band’s work is present as always.  What is new is strength of the vocal melodies here.  Familiar rapping and near-tuneless chants give way to pleasing, memorable vocal hooks on a number of tracks, notably “Memorando” with its references to the legendary Lampi, a Northeast Brazilian Robin Hood figure.  The noisiest tracks come late in the program, like “Vai Buscar” with its booming grind and roar, or “Espresso da Eléctrica Avenida,” which veers toward high-speed rockabilly.  An instrumental called “Nebulosa” features berimbau, and the set ends with an air of film noir.  In all, this is a fine collection of songs from one of the most important and appealing rock combos Brazil has yet produced.

Contributed by: Banning Eyre for www.afropop.org