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Put your hands on the remote! browse music »2002 by Brazzaville
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fave it Emo | Delicate
11 tracks | 47 minutes
Released Sep 2003
on South China Sea
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- sample lyrics "DOWNLOAD" 03:29 Deng Xiaoping lyrics FREE 03:29 Deng Xiaoping lyrics "GIFT MP3" 03:29 Deng Xiaoping
- sample lyrics "DOWNLOAD" 03:36 Caldo de Cana lyrics BUY MP3 03:36 Caldo de Cana lyrics "GIFT MP3" 03:36 Caldo de Cana
- sample lyrics "DOWNLOAD" 05:04 Sewers of Bangkok lyrics BUY MP3 05:04 Sewers of Bangkok lyrics "GIFT MP3" 05:04 Sewers of Bangkok
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Soft and sad, and tinged with a weary sort of sex appeal...explores the worlds of dereliction and exile--war zones, ghettos, welfare hoyels, shooting galleries, train cars, the world wide web in a poetic shorthand that is bandied, buoyed, and embellished
Editorial review
What do Fiona Apple, the Blasters, Cibo Matto, the Creatures, Divinyls, Jewel, Ben Lee, Sean Lennon, the Lemonheads, NOFX, Michael Penn, Lou Reed, Tom Waits, and Victoria Williams have in common? Well, besides being a representative sample of the most influential projects and artists of the last two decades, all these names are on the collective resum? septet Brazzaville. Put together by saxophonist David Brown (Beck), Brazzaville boasts, slinky, spy-at-the-beach sounds that suggest exotic, tropical vacations courtesy of the Federal Witness Protection Program, or an invitation into dangerously cool, Yakuza hangouts where no body knows your name until all the doors are locked. World traveler Brown gathered his journeyman musician friends together to create music fusing his Far East and South American infuences. The result, which has room to reconcile both West Coast cool jazz and New York City hip-hop flavors, also allows room for even some vivid spoken word in the gritty "Sewers of Bangkok" and the now-I-am-become-Kali "Ocean" featuring Joe Frank (National Public Radio). Eclectic arrangements that successfully synthesize a multiplicity of genres rich in percussion, while incorporating organ, turntables, piano and more, give every track a unique and exotic feel. This self-titled debut is one of those rare albums that more than fulfills its promise. ~ Tom Schulte, All Music Guide
Bio / Background
SF WEEKLY 6/11/2003 by Silke Tudor
Brazzaville, the river-port capital of the Republic of the Congo, was
founded in 1883 by Pierre Paul François Savorgnan de Brazza, a
Brazilian-born adventurer of Italian nobility who became a French
citizen so that he could explore and colonize Africa. The result of a
similarly Byzantine array of influences, Brazzaville, the Los
Angeles-based nightclub septet, was founded in 1998 by David Brown, a one-time runaway from L.A.'s Koreatown who tramped through India, Brazil, Venezuela, Spain, Japan, Nepal, and Thailand before becoming Beck Hansen's saxophone player. With bossa nova rhythms lapping softly against a fading accordion, a delicate piano melody wafting through a golden haze of saxophone, and Brown's smooth, unhurried tenor supplying an offhand sort of Parisian cool, Brazzaville is the band you might expect to find at the end of the line in The Night of the Iguana.
↓ more ↓While the group's peculiar amalgamation of wandering souls -- among them, a Miami-born guitar player raised in Zaire, a Californian sax playercurrently leading a Cambodian pop band, and a Caribbean-born percussionplayer raised in Paris -- can cite working relationships with NinaHagen, Lisa Marie Presley, the Lemonheads, Tom Waits, Ozomatli, LosSuper Elegantes, Natalie Merchant, Joan Baez, and Sandra Bernhard, one gets the feeling the band would feel just as comfortable smoldering in dark bar where ruined women and remorseful felons shed their names and soak their memories in grain alcohol and tropical rain.
The 11 songs found on last year's Rouge on Pockmarked Cheeks are, like the album's title, soft and sad, and tinged with a weary sort of sex appeal. As on Brazzaville's previous two discs, Brown explores the worlds of dereliction and exile -- war zones, ghettos, welfare hotels, shooting galleries, train cars, the World Wide Web, and his old neighborhood --
in a poetic shorthand that is bandied, buoyed, and embellished by the
band's elegant musicianship. The combination, reminiscent of late-'60s Tropicalia, is at once trendy and touching, but unlike some of the great artists of Brazil's movement, Brown does not stop at the threshold of introspection: On songs like the dusky "Motel Room," in which he sings, "Night is here in my veins/ I'm losing again/ And not much remains/ Come/ Lay down next to me/ And I'll tell you a bit/ Of who I used to be," his languid sympathy takes on the guise of memory. Throughout the album, he imbues loneliness with more shadow-weight than gunships and class riots combined.
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