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CD
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STAUB 143CD
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With just their second album, Telebossa have successfully created their own musical language, an achievement that often takes others a lifetime of work. While their 2011 debut album (STAUBDIG 011CD/STAUBANA 005LP) saw Berliners Chico Mello and Nicholas Bussmann exploring the bossa tradition through role models such as Antônio Carlos Jobim, Caetano Veloso, and João Gilberto, their mixture of Brazilian-style elements and new music has now become a model in its own right. This time the duo is supported by one of the greats, Van Dyke Parks, best known for his collaborations with Brian Wilson (with later collaborators ranging from Joanna Newsom to Skrillex). "Discover America," Parks's mission statement from the 1960s (and the title of one of his rare solo albums), is now emblazoned on Telebossa's flag, in a testament to bossa nova's detour through the USA, which led to its inclusion in the canon of music history. Cello and guitar have disappeared from the Telebossa sound, replaced by vocals and player piano. And throughout, it is Chico Mello's delicate, fragile voice -- in the best bossa nova tradition -- which maintains the connection to the musical homeland of Brazil. However, the main theme of the album is also the classic conflict and cooperation between man and machine, represented by a juxtaposition of the almost inhuman perfection of the woodwind ensemble Aventure and Winfried Ritsch's pleasantly warm piano robot, Der Automat, programmed with unprecedented delicacy by Bussmann. And in the middle of it, the Chico Mello's vocie alongside Bussmann's cool, technoid electronics. The texts of "metaphysical engineer" Fernando Pessoa, who described the entanglements of technology, metaphysics, and corporeality at the beginning of the 20th century, perfectly complement the physical-mechanical musical interplay. Bussmann and Mello have landed a major coup at only their second attempt -- way beyond hype, ingratiation, and eclecticism for the sake of eclecticism. In short: Telebossa have arrived.
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LP
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STAUB 143LP
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LP version. With just their second album, Telebossa have successfully created their own musical language, an achievement that often takes others a lifetime of work. While their 2011 debut album (STAUBDIG 011CD/STAUBANA 005LP) saw Berliners Chico Mello and Nicholas Bussmann exploring the bossa tradition through role models such as Antônio Carlos Jobim, Caetano Veloso, and João Gilberto, their mixture of Brazilian-style elements and new music has now become a model in its own right. This time the duo is supported by one of the greats, Van Dyke Parks, best known for his collaborations with Brian Wilson (with later collaborators ranging from Joanna Newsom to Skrillex). "Discover America," Parks's mission statement from the 1960s (and the title of one of his rare solo albums), is now emblazoned on Telebossa's flag, in a testament to bossa nova's detour through the USA, which led to its inclusion in the canon of music history. Cello and guitar have disappeared from the Telebossa sound, replaced by vocals and player piano. And throughout, it is Chico Mello's delicate, fragile voice -- in the best bossa nova tradition -- which maintains the connection to the musical homeland of Brazil. However, the main theme of the album is also the classic conflict and cooperation between man and machine, represented by a juxtaposition of the almost inhuman perfection of the woodwind ensemble Aventure and Winfried Ritsch's pleasantly warm piano robot, Der Automat, programmed with unprecedented delicacy by Bussmann. And in the middle of it, the Chico Mello's vocie alongside Bussmann's cool, technoid electronics. The texts of "metaphysical engineer" Fernando Pessoa, who described the entanglements of technology, metaphysics, and corporeality at the beginning of the 20th century, perfectly complement the physical-mechanical musical interplay. Bussmann and Mello have landed a major coup at only their second attempt -- way beyond hype, ingratiation, and eclecticism for the sake of eclecticism. In short: Telebossa have arrived.
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CD
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STAUBDIG 011CD
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This is the debut album on Staubgold from Telebossa. The singularity of Telebossa's music is the result of a stunning interplay between musical cultures and the incessant exploration of samba, jazz and chamber music. In this music, bossa can seem at times very distant while the Donaueschinger Musiktage (where compositions by Chico Mello have been performed) and Kapital Band 1 (Nicholas Bussmann's band project on the Mosz label) can be very close. Both Bussmann and Mello are at home in South America and Europe in equal measures. They combine Brazilian heritage such as Noel Rosa's "Seculo Do Progresso" seamlessly with minimal music, improv and electronica. On their debut album, they have achieved the difficult feat of transporting the spirit and the soul of their live performances into a studio and capture it in a fantastically-produced recording. It's comprised of seven moving songs which tell stories about love and sorrow, about homesickness and wanderlust, about the Kotti (the Kottbusser Tor in Berlin) and the Copacabana.
"My first encounter with the music of Telebossa was a plain mp3 file attached to an e-mail from Nicholas Bussmann, which left me curious and skeptical simultaneously. How could it be that two Berlin-based experimental musicians (which is how I had regarded them up until then) could play a Brazilian music, which was equal to that of bossa nova's protagonists like Antônio Carlos Jobim, Caetano Veloso or João Gilberto? What was the source of this irresistible, always deeply melancholic and disarmingly authentic flair, which transported me at once from wintery Berlin to the tropical humidity of Rio de Janeiro?" --Markus Detmer
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LP
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STAUBANA 005LP
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LP version. This is the debut album on Staubgold from Telebossa. The singularity of Telebossa's music is the result of a stunning interplay between musical cultures and the incessant exploration of samba, jazz and chamber music. In this music, bossa can seem at times very distant while the Donaueschinger Musiktage (where compositions by Chico Mello have been performed) and Kapital Band 1 (Nicholas Bussmann's band project on the Mosz label) can be very close. Both Bussmann and Mello are at home in South America and Europe in equal measures. They combine Brazilian heritage such as Noel Rosa's "Seculo Do Progresso" seamlessly with minimal music, improv and electronica. On their debut album, they have achieved the difficult feat of transporting the spirit and the soul of their live performances into a studio and capture it in a fantastically-produced recording. It's comprised of seven moving songs which tell stories about love and sorrow, about homesickness and wanderlust, about the Kotti (the Kottbusser Tor in Berlin) and the Copacabana.
"My first encounter with the music of Telebossa was a plain mp3 file attached to an e-mail from Nicholas Bussmann, which left me curious and skeptical simultaneously. How could it be that two Berlin-based experimental musicians (which is how I had regarded them up until then) could play a Brazilian music, which was equal to that of bossa nova's protagonists like Antônio Carlos Jobim, Caetano Veloso or João Gilberto? What was the source of this irresistible, always deeply melancholic and disarmingly authentic flair, which transported me at once from wintery Berlin to the tropical humidity of Rio de Janeiro?" --Markus Detmer
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