Telebossa - Self Titled [Staubgold - 2011]The music of Telebossa, according to their bio, is meant to combine influences from Latin American and European cultures, as the members of this duo each have roots in both regions. Their self-titled 2011 debut is hugely eclectic, drawing primarily from latin lounge jazz, bossa nova and minimalist classical music. I'm no connoisseur when it comes to any of these styles, and admittedly I can't understand any of the Spanish lyrics (one of the more prominent aspects of the album), but I've still managed to get tremendous enjoyment from the clever, understated beauty of this album's labyrithine melodies, and the soothing, inviting intimacy of the entire proceeding. It's all presented in a very digestible format, and somehow every nearly track ends up feeling like a lounge pop song as well as a progressive epic. To compliment the catchy but always changing vocal melodies, there are driving string ostinati, like much of the album they are roughly played but meticulously written. There's an elegant cinematic drama in the way the songs swell over time, and at certain perfect haunting moments ("Eu Sonhei Que Tu Estavas Tao Linda") I'm even reminded of the dystopian paranoia of Radiohead, and particularly that band's ability to achieve a marvellous climax, as they did in songs like "Exit Music (For a Film)". For all the emotional intensity of the music, it's important to note that Chico Mello's quavering croon never even reaches speaking volume. The build ups in the songs are mostly created by adding new instrumentation, or the chord changes themselves, rather than a vocal crescendo. This 'intimacy' of his voice could easily be a romantic intimacy, and this album, though it has its sad, almost frighteningly bleak moments on occasion, would make the perfect soundtrack to an exotic vacation trip with a significant other. The more one listens to these songs, with their unpredictable melodies and multifaceted emotions, the deeper and more perfect they seem. The circular structure of the opener, which starts and ends with ghostly muted piano chords, is meaningful and poignant. "Seculo du Progresso", which I was unsurprised to find is a cover, feels more rooted to folk tradition than the other songs. There are 2 shorter pieces, mostly instrumental, in the middle of the album, that help cement the classical influences of Telebossa, firstly "Ingenuo", a very minimalist piece consisting of guitar gestures in a field of empty space. I could go into more analysis of the songs, but I admittedly cannot describe what makes this album so wonderful and important. This is some of my favorite songwriting I've heard in a long time, and after hearing this I feel the need to investigate more music in this vein. Telebossa's debut is a subtle masterpiece, and I highly recommend it to anyone.   Josh Landry
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