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The album “Músicas para Ouvir no After” marks the end of the ROLÊ trilogy. At its core, the project constructs a narrative idea to be the soundtrack of the infamous afterparty. The knowledge diffused during its 14 tracks is extensive, in psychic terms, observed as the need for energy to be mustered and how this journey bends our senses through the afterparty.
“INTRO”
The opener sets this idea for Adame, combining a plethora of sounds, mixing the Beat Fino from Espírito Santo, from where the producer’s from, with some synths characteristic in Acid Techno. The ambiance is also displayed literally, as the vocal samples indicate that this After is happening in Cachoeiro do Itapemirim-ES.
“Bucetada Melódica”
Almost unnoticeably, the album transitions to this follow up, continuing on the synths laid out in the intro, screeching them through the mix intensively, as it plays both with Acid Techno and the Batidão Carioca bases. Incorporating vocals from MC’s Vuk, Saci & GW, they dictate what’s happening in this After, a place where libidinousness takes center.
“Faz minha mente”
What makes up my mind? The start of the track relates to ecstasy, commonly referred to in Brazil as “bala” (candy). MC Mr BIM is the one who introduces us to this trip, it being both for the candy and by it. The production plays with his vocals, flexing them to produce an effect both as an external and internal command to take the drug. The “glitchyness” heard through the song, over a high paced and constant beat, try to describe this first contact with the substance. One of the staples of afterparties, it’s from ecstasy where energy can be had again for the incessant partying ahead.
“Ter pensamentos tipo”
The production goes to the most bare bones it can be and still be considered Brazilian Funk. Conjuring a cybernetic sound, it creates the sensation of a complete mental unraveling. What is felt through Littlewave’s vocal is the narration of this moment, when so close to complete inebriation inside a stimulating space, what is left is the carnal, and the latent desire for sluttiness.
“Ecstasy Effect”
Continuing this trip, it is through this track that it reaches its apex. A complete trance, where the room seems to bend by the sound of the metallic berimbaus and supersaturated 808s. The collective catharsis is guided by the orders from MC Magrinho and MC Rafa 22, who while being in focus, are also distorted by the production.
“Rebolando Lentinho”
The start of the track refers to a time skip, maybe we’re by now experiencing the sunrise, meanwhile the inebriation maintains itself constant. MC Juninho FSF is the narrator of a sensual drug-filled encounter, full of paradoxes. The lyrics call for a slow lapdance over a frenetic rhythm, ordering for an “all fours” position, like a square, on a production that breaks any semblance of structure throughout. While we perceive mostly an artificial aspect to the album’s sound, here some drums show themselves as to add a bit of a naturalistic tone, instigating the dancefloor not only for a frenzy, but a sensual calling as well. By the end of the song, Funk and Trance are mixed together forming a kaleidoscopic picture that is overlapped by a nonsensical sample, nodding back to the afterparty and how things sometimes seem to sprout at random.
“Delirando”
Mastrobiso appears over an aggressive instrumental, describing a completely unrestrained moment. The production starts from the Magrão, and concludes on a Trance mix, guided by the desire from the spokeswoman, reflected by MC DDSV’s verse, who becomes the genie who’s able to materialize those wishes into complete delirium.
“O Funk Experimental”
A transitional moment in the album, narratively while it was guided by the idea of a DJ commanding the dancefloor, the experimentation nods to something unique, a product of the search for a proper afterparty to put to use all this energy gathered on the ROLÊ.
“Acido”
The collab with German producer Boys Noize is best described as an alchemy of diverse styles, uniting the Funk from Rio de Janeiro and Espírito Santo with the Techno Clubber scene of Berlin. Narratively, it’s the tale of the libidination from a DJ and his companion. It eventually flows into an universality propitiated by the theme, not sticking to any place, it strives more as a representation of the energy of this moment.
“Destrava”
A complete deconstruction of the rationale behind Brazilian Funk, it sounds like a crazy salad of Electronic rhythms that maintain themselves together purely by the chaos and BPM. In only 2min30sec it transports yourself to innumerous experiences and sensations.
“After”
Referring back to the title, it’s in this track that Adame focuses on exemplifying what his idea for an After is and should be. Plenty atabaques are layered over themselves and the heavy and long 808s that appear through the production. In the end, these long 808s are heavily overlayed as to pass the feeling of a burgeoning mystery, still hidden.
“Monta no pau”
MC GW’s vocals are firstly decelerated as a means to deceive the listener for the unrelenting barrage of Hard Techno that follows. The most intense track in the project up to this point, by far! It sets the tone for a frenetic ending to the album, as a way to reference the last hoorah from all the partying.
“Encaixa”
Mixing Jungle and Hard Techno, the only few breaths available through the track are from the Breakbeat sections, that give the ears a bit of rest before the incessant waves of sound come back around.
“Toma Toma”
The conclusion to this epic is by the sound of a Gabber mix with elements from the Macumbinha Carioca. While it maintains the intensity of the last few tracks, throughout its length the synths seem as to be underlapped by the vocals, seemingly losing energy. By the end they all combine into a final blast that closes out this ode for partying and the totality of what Electronic Music composes on the nights and early morning around the world.
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