For the past eight years, brazil’s Corinthians won the club world championship, beating the rich team on the English Chelsea in the final, the last time I was in a club in brazil. A screenshot of the game, the defender Chicão, giving you a shopping cart in a split in the finals of the belgian Hazard, ” reads the cover of the “Brime!”, the disc, which strengthens the ties between a rap music made in Brazil, and the united kingdom.
“It’s a simple act, but one that has a lot of meaning. It’s the breed in them, stand in the Hazard,” he says (Febem), one of the Media —and the other is the Fleezus, in addition to the DJ Cesrv— recorded for the album. Most of the references to football, which is extremely popular in both countries, it is a metaphor of the intention of the trio to defeat the enemy’s most powerful weapons as possible, whether or not you submit to the dominant culture, but to place the same in front of her.
“Brime!”, launched in march, it will mark the culmination of the influence of the tea, in the style of rap in English on the brazilian scene. Of the six tracks, in fact, they are one step deeper into the creation of a national identity by the pace committee, closely linked to electronic music, and is done in large part by immigrants, and their descendants in the united kingdom.
“The Dizzee Rascal was the first to release a sh that he was not only in the united kingdom. For me, it was a rap song in English, I don’t know what it was now. It was a deal to be spontaneous. There was the sound of a broken. As for the funk, right here. Then the stuff started to blow up,” he says Cesrv.
He’s talking about, “the Boy in the Corner”, first album of the rapper and singer, 2003). Since then, the rate has been increasing and diversifying over the past decade, with names such as Wiley and Stormzy. But it is safe to say that the tea has gone global by the year 2016, in with Skepta.
In that year, and now the star of the british music has released the album ‘Konnichiwa’, and broke down all the barriers. Was listed as one of the most played songs of the United States of america, the birthplace of hip-hop as we know it today, on the day, beating David Bowie, the Mercury Prize —the award for best album in uk this year, he recorded with Drake and Mick Jagger, and now it can be considered to be one of the biggest rappers on the planet.
Published by pirate radio stations british isles at the turn of the century, the tea brings to the MCs rhyming on top of beats that are loaded from the influences of electronic music, especially the style known as the UK garage and jungle, but also drum ‘n’ bass, house and more recently dubstep.
“When the Wiley’s come up with now, and he wanted to make a sound talk to their african roots in it,” he says, Cesrv, which plays with the genre in the party, Colab 011, which is in the centre of São Paulo since at least the year 2012. “Oddly enough, it’s a song about that conversation a lot with the way that the funk is going on to-day, and in the matter of the meter, tempo, tempo. The difference is in the way of the rhyme of the guys come from the drum ‘n’ bass in the park.”
In Brazil, the tea has seeped for a time in rap music in the past year. The program, “Brazil is Now on Show in the YouTube video, with a variety of MCs rhyming and ad-libbing over the top of beats from now on, he won fame and set it as Leall, in Rio de Janeiro, and the Story, in the state of Bahia, have started to incorporate the aesthetic with the oppressed.
In The “Brime!”, the similarities between the brazilian electronic music, and rap to electronic to English are emphasized. The film “the Third World”, goes from house to funk 150 BPM, and the fast-paced style of the genre, as it is dominant, in Rio de Janeiro, as “Chelsea” it is the gathering of the sounds that are typical of the grime beats that is the face of a funk.
In the letter, (Febem) takes on the most acidic, while Fleezus and stands with hooks and choruses. The rhymes, both of them, however, in Sao Paulo, the festivals, and the culture of the street are in the background of the verses on the / / favo.cc / ie beer$ 6 at the Bras, or listen to the DJ Guuga, songs.
“We need to talk about our experiences,” he says Fleezus. “We already have a lot of people in funk, speaking of the grape-stones from the ‘one thousand ‘ degree’. We have to mention that we live in. Do you like it? In football, the tracksuit, the art of celebration.”
For the album, Febem), Fleezus, and Cesrv went to London to work for a brand of streetwear. “In the United States, as much as we consume the f * * king culture for them, Europe is a lot closer. The love for the game, and the way to dress in the shirt of the team, from the shelter of the football, and brings even more. I live in Villa Maria [em São Paulo]I don’t have the money to buy a shirt by Gucci,” he says (Febem).
He is comparing the life style of the MCs in the grime, with that of the trap subgenre of american rap, which is one of the most used all over the world. To the contrary, on the trap, which is highly valued in the haute couture with all the Media talking about all the time in designer labels and luxury, the tea is more closely related to the culture of the street, and the clothing and sports-related.
The trio have different backgrounds. Even though we all have been influenced by the Racionais MCs, (Febem) is more related to the Odd Future collective’s the american that emerged in the past decade or so, and has revealed the names such as Tyler the Creator and Frank Ocean, and even the punk-and hardcore-scene of a rail.
“We were going to a show with the Rational, with his Grave, no one understand what he was saying. What I was getting into rap, that was the thing of the game. I think the middle face. I don’t like the music that the other guys are good too. Also, I have never had the urge to make a sad story. I can see it all around me, and it’s only a sad story,” he says.
Cesrv, which took the band in the early 2000’s, produced since 2006, and runs a recording studio in São Paulo, in addition to playing in festivals. ‘ve Fleezus started out singing gospel music in church. “Like any kid, I had two options —either to follow his father in the bar, or the mother of the church. I went with my mom, but at some point, I was aware that the system of religious passion, as any other system.”
All of them, however, are the festivals of electronic music, even though this is a even little bit of open track in the funk and hip-hop music, which these days are almost all synthetic. “We’re going to the [festa de techno e house] Gop Tun, listening to the electronic sound, but also that we’re in the dance right there in the corner,” he says Fleezus.
“Techno / house”, it was born in the city. And it has a embranquecimento heavy,” he says (Febem), with reference to the DJ Iasmin Turbininha, which is set in the funky fast-paced, in Rio de Janeiro, and usually does not take place in these festivals. “That’s what racism is. Like –‘what are you playing these songs in the service of the people on our ride?’. No one wants to do. It’s dirty to them, and the music of the poor, of the black.”
“The Brime!” a brand is an evolution, not only in the work of the artists involved, but the pace in Brazil. In the meantime, Nike, or Adidas, MCs, and producers from around the country are going to be giving up a guy in a south american to a british-style free and open to the innovations of the trap, both in concept and in sound.
In view of the Cesrv, the scenario now here is just the beginning. “People are looking at those issues, trying to do the same, and finding one’s identity. It’s the same on the trap, everyone wanted to be the one for Travis Scott. We wanted to show you what we have in Brazil, and look for the one that you have on your break. References to his life, and his mother, you know, it’s your life.”
“We were accepted very quickly [na Inglaterra]they are curious, all the DJs play our song,” he says (Febem). “It took on a life of making music is equal to an american to get in there [na Europa] and to be accepted.”