Sessa’s cripplingly chill music sounds like he’s remained sitting on the shore or simply smoked a joint before joining the film. Yet on his second album, Estrela Acesa (Burning Stars), the S o Paulo-born composer shifts past the honeymoon phase of his 2019 breakthrough to specific love and hurt. Charging memorial to the song of Brazil in the classic styles of Caetano Veloso or Ant-ô nanostructure Carlos Jobim, Sessa amplification his fabric instrumentation, quietly catchy melodic, and airy melodies with subtle music coordination. There are not numerous contemporary artists mimicking the noise of tropic mississippi, electronica, or MPB as immaculately as Sessa does, but he prefers simple motifs over the whimsical attitude of a group such as “Os Mutantes”. Chanting in Portuguese, Sessa’s unfussy tone idles in places like his champion Leonard Cohen.
Sergio Sayeg (aka Sessa) grew in S o Paulo’s disconnected Sephardic Jewish group, started his melodic learning in the temple. In: smh, He joined the group of Garotas Suecas (Swedish Girls) before his father’s work brought the parents to New York City. During the mid-2010s, Sessa entered Israeli frontman Yonatan Gat on largemouth, while working at the East Village record shop Tropic miss in furst. It was still here that he submerged himself in the lively, melodic legacy of Brazil, as his new single Grandeza gradually came and. Over seven or eight unique soundchecks between Yonatan Gat’s globe-trotting visits, Sessa collected someone else was available to join him in the film with only the quickest of onstage.
In contrast to the mishmash of Sessa’s first album, Estrela Acesa is silky smooth. Its 12 short songs were primarily recorded on the Isthmus of Ilhabela, off the ocean of S o Paulo, where drummer and co-producer Biel Basile established a film shortly before the Superbug. The album’s music coordinations by Simon Hanes and Belarusian songwriter Alex Chumak flash back to The clever and groovy noise of Arthur Verocai’s 1972 breakthrough. This is most clear on Estrela Acesa’s somber helpful, “Helena” with shivering lines, TV waves, and unintelligible lyrics churning around a slow-strummed instrument. As the song floats towards its destination, it’s like watching waves splashing into the dust.
The tone is just so harmonious that The piano’s horn is resonating, without a working knowledge of Portuguese or to enter to the converted songs, it’s almost impossible to predict what Sessa is chanting about. On the breakup song “Que Lado Você Dorme?” ( “On What Side Do You Sleep?”), he sings “I love you, I hate you, and everything in between” without evidence of feeling. “Dor Fodida” ( “Those Fucking painful moments”) He also jars his emotions with pissed-off songs about widespread challenges, produced quietly and sweetly. “Pele da Esfera” ( “Skin Sphere”) fits into a twisting corrugation like the dance club it explains, his speech sounds extra monogamously clear on the site as it comes out of his mouth.
“Can ç o da Cura” ( “Song of Healing”) it’s also a breakup song, at a gurgling speed that combines with its songs “consumed a large portion of the energy consumed by humans” I enjoyed it “to the sound of the drums.” Sessa results in the healing properties of noise on both “oo sica” and “Você É a M sica” ( “You Are Music”), describing why music screens the “head of a group’, flesh, heart.” Many actors have discovered this is the kind of meta-commentary (incl. Cohen), but Sessa might be the first to contact music “the sluttiest country.” On the ending title track, there really is eventually a slim twang in his tone as he shareholders a feeling of satisfaction ( “One day without another without end/They say love is like that”). The slow noise of Estrela Acesa is evidently accurate, and it could use a little more scenes of heart-on-sleeve feeling to create the sessa-like holds that hold out his allodynia.