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LP
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CREP 106LP
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After their Discrepant debut -- OOOO (CREP 060LP, 2018) -- Lisbon-based travelers Jibóia return to the fold with another offering of globetrotting psychedelia with Salar. With the core trio of Óscar Silva, Ricardo Martins, and Mestre André augmented by a stellar parade of collaborators on various roles, Salar further expands on the transglobal visions by now pretty trademarked by the band. Interspersed among shorter vignettes for drums, saxophone and bass, each of the more fully fleshed tracks casts a guest to elevate Jibóia's music to uncharted realms -- both in a mystical and geographical sense. Opener "Selar" summons the cello of songstress Joana Guerra for a skewed dialogue with Silva's guitar, propelled by Martins' drums and percussion and André's electronic textures into 4 minutes and 20 seconds that feel epic -- if there was any psychedelic numerological symbolism needed. On "Solar," Silva's non-western plucking rides on for Yaw Tembe's trumpet to veer in a multitude in directions, while the mysterious "Sitar" conjures the voice of Moroccan musician Ayoub El Ayadi for a contemplative nighttime prayer. Elsewhere, guitarist Rui Carvalho aka Filho da Mãe injects dissonant guitar lines unto "Sarar"'s pummeling dance and Pedro Augusto's electronics hover below the shapeshifting dynamics of "Sonar," among mesmerizing keyboard lines. "Salir," featuring Daiyen Jone's enchanted flute, brings the album to a close at its most reflective, all crepuscular synth lines and reverbed handclaps.
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LP
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CREP 060LP
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Earlier this decade, when Óscar Silva chose his alias Jibóia, he was already thinking of the variations his music would take on in each record. Jibóia is Portuguese for boa constrictor and by his fourth record his instincts and ability to change over his sound and search for different collaborators to reach his intentions was manifest. After collaborating with the likes of Makoto Yagyu, Sequin, Xinobi, Ricardo Martins, and Jonathan Saldanha on his previous records, in OOOO he goes deep into interconnecting his music with other musicians/past collaborators. Joined by Martins and André Pinto, Óscar created a record that sounded like Jibóia with the direct collaboration of the musicians that accepted the invitation. And what does it means to sound like Jibóia? A fluent and rich dialogue between outer-world sounds mixed with a free jazz approach to rock. It's music that's doing soul-searching without any space or time barriers. It flows as it should; OOOO is no different. Inspired by the philosophy of Pythagoras and his concept Musica Universalis, it speaks about an interspatial harmony created by the movement of the planets and the sound frequency it creates. It's a poetic theory that imagines the sound produced by the movement of the planets and what we can listen to when we listen to the universe. The first three tracks are a reference to those frequencies and the last one, "Topos", references an idea of accomplishment, of arrival and the sum of the experience. OOOO is a bit of a trip, a voyage of imagined sounds produced by three musicians in a constant dialogue, and with a different focus in each track. Each of the first three tracks are developed with a focus on the instruments of each musician, while the other two expand and enrich the range of the initial movement. On the final one, they explore the flux of ideas each brings to OOOO. However, it's not intended to be a conclusion or an end to OOOO; it's an open circuit of ideas that reinforces the free-minded rock that the three musicians explore, creating a new place where their music finds new routines. It just makes one want to go back to the beginning, again and again, reinforcing the feeling that Jibóia belongs to this world without sounding like anything from this world. RIYL: Sun Ra, Uncle Acid & The Deadbeats, Ohm.
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