Sau­dade

The Weekend Australian - Review - - Music Reviews - Tim McNa­mara

Thiev­ery Cor­po­ra­tion

ESL Mu­sic LONG known for their worldly rhythms, dubbed­out elec­tronic beats and reg­gae-in­spired jams, Thiev­ery Cor­po­ra­tion’s sev­enth al­bum sees Eric Hil­ton and Rob Garza re­turn to the bossa nova genre that first con­nected them in the mid1990s. Bor­row­ing its ti­tle from a Por­tuguese word mean­ing “a long­ing for some­thing or some­one that is lost, a con­tented melan­choly”,

Sau­dade rides a wave of emo­tions but is en­trenched in the samba and jazz el­e­ments of the Brazil­ian genre. The Wash­ing­ton-based duo en­lists the tal­ents of guest mu­si­cians, in­clud­ing mas­ter Brazil­ian per­cus­sion­ist Roberto San­tos and Ar­gen­tine singer and ESL la­bel­mate Fed­erico Aubele. The con­tri­bu­tions of five fe­male vo­cal­ists, in­clud­ing long-time col­lab­o­ra­tor LouLou Ghe­lichkhani, mean­while, back up Garza’s as­ser­tions of Sau­dade be­ing a very fem­i­nine record. The in­stru­men­tal ti­tle track makes quite the im­pact with its lonely acous­tic gui­tar strum­ming over un­der­stated bongo drums, and is a good tran­si­tion to the Latin-in­fused Clar­i­dad fea­tur­ing the sul­try vo­cal of Ar­gen­tinian Natalia Clavier. First sin­gle Depth

of My Soul is an or­ches­tral swoon that sees vo­cal­ist Shana Hal­li­gan — of Los Angeles elec­tronic duo Bit­ter:Sweet — sing over a cin­e­matic sound­scape. Those ex­pect­ing the so­ciopo­lit­i­cal com­men­tary of 2011’s Cul­ture of

Fear and 2008’s Ra­dio Re­tal­i­a­tion, the rockedged psychedelia of The Cos­mic Game, or the dark down-tempo beauty of The Mir­ror

Con­spir­acy won’t find it here. De­liv­ered at var­i­ous times in French, Span­ish and Ital­ian,

Sau­dade is a com­plex, sen­sual re­lease pay­ing homage to bossa nova but con­tain­ing a con­tem­po­rary edge in­jected by two who know how to push bound­aries in style. Bril­liant.

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