Share this article:. If you enjoy The Quietus, please consider supporting what we do with a one-off or regular donation. If you love our features, news and reviews, please support what we do with a one-off or regular donation. It sits at the center of a syncopated, playful, cinematic band which zooms through ideas like a circus on spinning wheels.
Favorite track: Pra fuder. Moni As amazing as Elza Soares' story in all its facets. Favorite track: Mulher do fim do mundo. Tom Drummond. Yanick Galli. David Miller. Francisco Martinez. Lite Sleeper. Nuno Diogo Silva. David Redmalm. Mathieu Gagnon. The music drops on the title track: a string quartet, interrupted by synth bass and a stark groove pinned on a tense arpeggiated cavaquinho line. The music on this record is dark, intense, often strange and avant garde, but always with a deep rhythmic pocket.
Somehow this diverse, dense mix of samba, rock, Afrobeat and experimental sounds serves as a perfect match for Elza at this point in her life. After her partner died and she lost a second child, she resurrected her career. Soares has carried a torch for samba, but she's also embraced jazz, rock, funk, and hip-hop.
When award-winning producer Guilherme Kastrup Badi Assad , Bruno Morais , Zeca Baleiro approached her to record an album, he envisioned classic sambas with radical new arrangements. She wanted to cut an album about "sex and blackness. Kastrup enlisted players and songwriters from the samba sugo "dirty samba" scene, including members of Passo Torto , Bixia 70, Mena Mena, and her longtime collaborator Jose Miguel Wisnik.
Soares delivers unflinching, jagged 21st century samba songs that detail a Brazilian life not seen by tourists. Their themes are about slavery, survival against all odds, unquenchable desire, racism, violence against women, gay, and transgender people, prostitution, loss and loneliness, and rage. There is so much happening musically it is dizzying initially, almost impossible to contain. In "Pra Fuder," electro-acoustic samba is framed by a clattering, bleating acid funk that recalls the Pop Group as it meets Fela 's charging multi-horn grooves and swagger.
In Celso Sims ' "Benedita," the composer duets with Soares. It's a rhythm collision where samba, jazz, and the punky friction of Gang of Four rub against one another, break apart, and recombine.
The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms.Soares’ honest and immediate delivery steals the show. Now she is in her late 70s, you can’t help but feel a heaviness in your heart when you hear lines such as this, from the title-track: ‘Woman at the end of the world I am, I go on singing till the end.’5/5(4).