Sonekka lan�a o disco Agridoce com proposta inovadora e participa��es especiais
Por Zeedoo�
Nada de gravadoras, nem venda em lojas. Nada de capinha pl�stica, nem encarte com letras min�sculas. O segundo CD de Sonekka, Agridoce, � lan�ado em conson�ncia com o seu tempo. Artista ligado a novas tend�ncias, ele preferiu lan�ar o disco somente na internet, pelo iTunes, em 25 pa�ses. Para o mercado brasileiro, h� uma vers�o – � venda no site sonekka.com.br – em um encarte premium, com design do artista Murilo Martins. Na forma de livro, ele traz todas as letras e pequenas cr�nicas que orbitam o universo do disco, numa mistura muito feliz. E n�o � para menos. A mistura � uma marca de Sonekka. As doze m�sicas do CD n�o respeitam um �nico estilo. V�o do rock, do pop e do blues a ritmos brasileiros, num equil�brio entre que o pr�prio t�tulo do disco anuncia: Agridoce. O mix entre suavidade e acidez tamb�m aparece nas letras. Algumas t�m como base a cr�nica social, com um olhar atento � realidade, como em Jornal das Dez (Sonekka/Gilvandro Filho) e Como Diria Agenor (Sonekka/Vlado Lima). Outras falam de relacionamentos, desfeitos e refeitos, numa linha que remete ao disco anterior do artista, Incr�veis Amores. � o caso de Mala sem Al�a (Sonekka/L�o Nogueira) e A Marca da Cal (Sonekka/Ricardo Moreira). Em todas, boas sacadas de letristas da nova gera��o, que deixam o lugar-comum de lado para explorar novas fronteiras. � o caso de Cisco no Olho (Sonekka/Lis Rodrigues/Ricardo Soares), que diz "hoje voc� � somente um cisco nesse meu olho/n�o significa nada e ainda assim me faz chorar". A m�sica que d� nome ao disco, Agridoce (Sonekka/Z� Edu Camargo), funciona como uma esp�cie de elo entre os dois lados do artista. N�o � toa, a letra diz: "eu sou duro na queda, hardcore/mas n�o perco a ternura jamais". As participa��es especiais tamb�m demonstram a preocupa��o com a pluralidade. V�o da verve roqueira e contestadora de Z� Rodrix, que toca piano e teclado em duas faixas, � percuss�o arrebatadora do ingl�s Cris Wells, em Batendo �gua. O grupo paulistano de compositores 4 1 participa de Ser� Que Estou Viajando? (Sonekka/M�rcio Policastro), um rock de letra bem-humorada. E, fechando o disco, mais tr�s participa��es especiais. Celso Vi�fora, �lio Camalle e Guarabyra juntam-se a Sonekka para cantar Balada Perdida, composi��o de Camalle, que fala do dif�cil dia-a-dia (ou seria noite-a-noite?) dos cantores de bar. Nos shows de lan�amento do CD, Sonekka sobe ao palco com a mesma banda que participou das grava��es, composta por Nando Lee (arranjos, viol�es e guitarras), Schmidt (bateria e percuss�o), Ricardo Bocate (baixo), Ayrton Boka (teclados), F�bio Andrade(piano) e Paulinho Farias completam a banda.
Sonekka started to record in 2003 with the CD "Incr�veis Amores" (Incredible Loves, in English). This first record is a conceptual CD with lyrics about loves which fail for lots of reasons, loving disasters that challenge the thoughts of romantic music, inspired in "Laughable Loves" of Milan Kundera. At the same time, the sonority brings clear ties to the Beatles and national bands of 80s. Some of these songs were also launched in collectanea, in Brazil and abroad.
Sonekka’s second CD, “Agridoce” (Bittersweet), is launched according to its time: without recording companies or lauching in stores. Nor plastic case, nor inserts with small and messy lyrics. Connected to the new trends, he preferred to launch only on the internet, through iTunes, in 25 countries with the stamp Koala Records, of Japan. For the Brazilians, a version is available for sale on the website “sonekka.com.br” in a luxurious insert, with Murilo Martins’ design. In the shape of a book, it brings all the lyrics along with small chronicles, recreating scenes of the record’s universe in a very joyful blend.
Blending is a mark of this composer. Twelve songs of the CD do not follow a specific style. They transit from rock, pop and blues to Brazilian rhythms, in a joyful and well dosed seasoning, as well as the heading of the CD: Bittersweet. The mix between the sweet and the sour appears on the lyrics. Some have a social chronicle on their basis, with a thoughtful look at the reality, as in “Jornal das Dez” (Night News on TV) (Sonekka/Gilvandro Filho) and “Como diria Agenor” (As Agenor Would Say) (Sonekka/Vlado Lima). Others are about broken or made up relationships. This trend remits to the previous record of the artist, as in “Mala sem Al�a” (Luggage without Handle) (Sonekka/L�o Nogueira) and “Marca da Cal” (Whitewash Mark) (Sonekka/Ricardo Moreira).
On the 12 good interpretations of the new generation composers, the lyrics leave the common sense to exploit new borders. Resentments are said on a soft way as in Cisco no Olho (Dust in my Eyes) (Sonekka/Lis Rodrigues/Ricardo Soares), which says “today you are just some dust in my eyes/ don’t mean anything, and even though make me cry”. Other lyrics bring an acid language to invoke soft feelings of hope and truth, as in “Como diria Agenor” (As Agenor Would Say), in a clear allusion to the Brazilian composer Cazuza. “Agridoce” (Bittersweet) (Sonekka/Z� Edu Camargo) was created right after the name of the title was choosen and is a kind of tie among the two sides of the artist. This is clear when the lyrics say: "I am the last to fall, hardcore/but I never lose my tenderness". Every part of the work was sewn with the bass of Siz�o Machado and the piano of Roberto Lazzarini.
Special participations also demonstrate the concern with the plurality. They gather the constester rock musician verve from Z� Rodrix – who plays the piano and keyboard in two tracks – to the entrancing percussion of Cris Wells, in “Batendo �gua” (Beating Water). The group of composers from S�o Paulo, 4 1(Kana, Alvaro Cueva, M�rcio Policastro, Al� Cueva and Leo Nogueira) participates of “Ser� que Estou Viajando?” (Am I wondering?) (Sonekka/M�rcio Policastro), a swing rock with a good-humoured lyric. Closing the record, three more participations are presented. Guarabyra, Celso Vi�fora and �lio Camalle team up with Sonekka to sing “Balada Perdida” (Lost Ballad), a Camalle composition, that sets the lyric in traditional pubs to sing "I do not love you Spaniard, I do not love you anymore" in Guarabyra’s voice.
