Supercolisor - Viagem ao Fim da Noite

The band is manauara, but the work is a mixture of southeast and south. Recorded between the cities of São Paulo and Curitiba from five studios, the third Supercolisor studio album has arrived. Entitled Viagem ao Fim da Noite, the album is produced by Ian Fonseca and Jérôme Gras.

The piano blows its notes. A strong and low voice comes in delivering a differentiated weight to Nada é Melhor. It is Fonseca who comes with a series of questions, making the song work almost like a monologue. With a dramatic content, the song still has through Sergio Coelho and Reynaldo Izeppi, trombone and trumpet notes that deliver movement to the plot. A curious point is that the song has a turning point that gets rid of this drama itself and moves towards a melody that is nothing more than a blend. In just one passage it is possible to perceive the influence of jazz, samba, baião.

With exoteric sounds taking passage, it is arrived Um e Meio, a song in which the guitar lines form samba notes that work as the rhythmic base. In the same theme of Nada é Melhor, the track brings a lyricism that is not a monologue, but reaffirms the reflection on life and chance with a content about reunions. In the second verse, a novelty. Tuyo lends his tuned voice bringing another look on the same theme.

It is Henrique Meyer who pulls the intro of Torto. His slightly swinging guitar in cheerful tones gives way to a simple but contagious groove of the base formed by the Gras bass and the drums of Natan Fonseca. Here the lyrical content is not heavy or dense, as it narrates an event with hints of humor. It is interesting to note that it is in the song that the idea is established that when Fonseca puts on his voice, he takes on tones that resemble Seu Jorge.

Whistles, a subtle groove, sparkling guitar. This is the scope of Pardal, a song based on the blues and with a prominent presence of the bass notes. Here, Marc Thiessen's accordion gives a more french and romantic air to this song that, like Torto, talks about love.

It's almost as if you could feel a veil of silk or the liquidity of water walking through your body. This is the effect caused by Sempre, a seductive song, with a velvety rhythm and millimetrically executed instrumentation. Again the accordion sound is employed to deliver more romanticism, a detail that is also enhanced by Leo Fressato's almost whispered voice entering the second verse. Therefore, Sempre is made entirely of delicacy and subtlety.

For its most aggressive introductory instrumental in relation to those presented so far, Estrada is a strong candidate for single side b. Bringing a latent agony, a cry for help from the lyrical self, the song has a chorus of strong commercial appeal and effect phrases like "Tudo vai passar" and "Nada vai mudar em vão".

Through a more paused melody, Incêndio is a metaphorical music in which the comparison between fire and impulsiveness is the result of the act of change. Bringing a rhythmic change in sound and speed, the song also presents a chorus based on the blues and a bridge with Victor Meira bringing a narration about feeling expectations.

Only by the humming in the introduction and the visible cheerfully soft melody, it is possible to suppose that Eu Não Te Esqueci is one of the Viagem ao Fim da Noite singles. Its melody, which vaguely resembles that maid in Fada, a single by the duo from the sertaneja Vitor & Leo, is contagious and seductive, engaging and subtle. This same subtlety persists even in the chorus, even if this moment of music increases the listener's power of attraction through the lyrical cadence. That's why this is the album's main single.

Torto (Reprise) is that song in which the listener follows attentively the narration presented by Maurício Pereira, because every detail is a fash. Each speech brings a consequent laugh of the similarity between the experience of the lyrical self and the spectator himself.

The title track is a song in which lyricism reveals that nightfall in the city is an invitation to stir memories and remember who is gone. It is also a track whose instrumental is more powerful, involving. It's a factor that reveals itself after the chorus with a sound punch that carries an inconstant dramaticity.

Viagem ao Fim da Noite is a record of high musicality. It is a record where the melody of the songs seems linear, but it always keeps, in each of the 10 chapters of the record, surprises that make the hair of the ears rise. After all, within all the subtlety that has been presented, there is always an element that breaks the tranquility and closes the monotony.

This is all thanks to the extensive team of musicians recruited to compose the sound plot of the album, which also includes Phellyppe Sabo, Denis Mariano and Charles Tixier. But none of this would be worthwhile if the mixing work wasn't efficient. After all, it is he who ensures that each instrument is heard in its entirety.

And Bruno Giorgi worked hard on this point, as he managed to maintain the energy of each song in such a way that the instruments employed their interpretations to the fullest extent. Of course, sometimes there are those who stand out on their own. That's why the mix in the case of Viagem ao Fim da Noite was important, to make sure that these powerful sounds did not exceed the suggested limit.

But limit is something that Supercolisor does not seem to know what it is. Even because, if in a song one noticed the influence of countless different rhythms in a melody that only gained with it, the expectation for new tracks, EPs or records like this becomes great.

Released on February 5, 2021 via Invern Records, Viagem ao Fim da Noite is a work of attractive and reflective melodies, a latent detail even in Meira's cover art. The composition of the booklet reproduces melancholy, uncertainty, but also provides tranquility and reflection. All this is inside the disc, all ready to be tasted.