Behind every compilation is a story and with Funk Globo: The sound of Neo Baile, the aesthetic and sound were so different to anything we’ve heard with our European and American sensibilities we felt we had to dig further to get the low down not only on the new compilation but Neo Baile itself as a genre. Apparently a new take on the traditional sounds of Brazils Baile Funk we were more than a little intrigued as to what this new hybrid of a classic south American musical movement would sound like and so our first port of call was grabbing a few words from artists involved in the new compilations featuring 14 unreleased and exclusive tracks from worldwide producers that reinterpret the love-it-or-hate-it Brazilian Baile Funk sound. The compilation has been put together by two of the movement’s most knowledgeable players: Sao Paulo-based Funk na Caixa aka Renato Martins and London-based Sean Casey aka Bumps, founder of Club Popozuda. The Sound of Neo Baile features established names such as DJ Comdrade aka Xao, whose Favela Trap album made a major dent in the burgeoning scene at the end of 2012, Sao Paulo-based MC Gi, one of the forerunners of the scene, and Rio-based Maga Bo, who has been producing Brazilian-flavoured bass music since the early 00s. Alongside these are upcoming artists you’ll most definitely want to keep an eye on including Ophex from Lithuania, Ckrono & Slesh from Italy, Gato Preto from Mozambique, Chuck Upbeat from Moscow and London-based Bumps, one of the compilers. As a bonus the compilation also features the first lady of Funk, Deize Tigrona, on a track entitled Prostituto that fuses Tecnobrega and Trap rhythms. So without further ado lets find out how the new album came together…
BUMPS It was whilst doing gigs around Europe as Baby Bumps back in 2000AD, that I first encountered a strange style of music that was a mash of Miami Bass and Latin music with MCs spitting in Portuguese. I later found out that this was “Funk Carioca” (or “Baile Funk” to you and I) and I’ve been hooked ever since. It’s the drum machine culture that I love. A bit like when house began. Rough and ready and although my Portuguese is extremely limited, I can still feel the raw emotion behind the vocals as well. It’s a bit like an opera lover who doesn’t really speak Italian, but still ends up in tears ay the end of the performance. It’s just so damn funky!
“Bumporzao” is what Cariocas call a Montagem (montage), a cut-up. Making a tune out of vocal snips, beats and stabs/hits. Montagems are usually performed live on drum machines, but I cheated a little and arranged it in my computer.
First of all Baile Funk is based on sampling. Producers usually cut samples from some cool trendy tracks to use them in their production. So when I was working on the track I wanted it to be produced in classical way. To my mind today’s Baile Funk doesn’t contain many samples from such popular genres as Moombahton or Dutch House. So the idea was to cut clean samples and make them sound Baile Funk style. I also tried to imitate 808 beats using different drum kits so the track can sound new but classical. The name “Cicadas’ dance” wasn’t my idea but it sounded so funny I decided it was a right name for the track. As I was starting my production experience from Baltimore Club Music so for me Bmore and Baile Funk will always go together. To my mind, those two genres were developing practically in the same way. But Baile Funk nevertheless won the competition here for me and has a long future ahead of it.
GUTO DE ALMEIDA
The music track was a project that appeared to me, at the request of Funk Na Caixa, in which I had complete freedom to work. I used basically the essence of my own music when composing, and it reflected a lot of what I’m play nowadays.
The baile funk aspect to me, itself, is the culture of Rio, it is a portrait of Brazilian culture. Like Detroit had Techno. Rio and Brazil has Neo Baile. This is ours, I think this is Brazilian electronic music, and it is totally Brazilian but we want to share it with the rest of the world. Growing up a lot of my musical education came from baile funk and it was in funk scene that I first got any acknowledgment. I think the style is still very raw and hasn’t yet reached its full potential but has gathered enough momentum to begin the movement that had a lot to be created and and now is a path that can offer many creative possibilities.
I did my remix using my musical references, I’ve always liked styles like funk and electro, and shown a a face far more tropical than my usual work with this remix.
The funk was important and with that in mind I let it out, the funk isnow fully grown, reaching an increasingly large public and moving out from its street image as ‘music of slum’.
I really like the funk, it plays a lot in the region where I came from – Pará – and this is a phenomenon that is prominent across the whole of Brazil;it’s not only closed to the Rio de Janeiro area it is across the whole country for example for one of my productions I worked with an MC from Sao Paulo. In my productions I always tried to use the elements that represent the Jaloo and furthermore the entire the universe of funk!
It’s nice to say that we produced the music without Deize be for real with us, I know, this is one of the qualities of the internet. And the Internet is a reality where I came too,all material from my region is on internet. With that we can produce and provide to fans across thw world and we’re just hoping that people like it.
Besides technobrega, production of the whole album has a touch of forró, trap and some tropical bass, and it was an honor for me as it was my first music copyrighted with Deize Tigrona.