Da Lama Ao Caos

Rolling Stone (12/29/94-1/12/95, p.182) - "...imagine Elvis Costello as a hip Brazilian..." Spin (p.108) - "Brazilian rudeboy toaster Chico gives loud rock an unequaled rhythmic intensity." Spin (2/96, p.88) - 7 - Flawed Yet Worthy - "...might be the most rhythmically advanced loud rock group ever. DA LAMA AO CAOS begins where the Fall left off on their densely double-drummed HEX ENDUCTION HOUR in 1982...even sampling Mark E. Smith's voice once....this is rock [and] it's on the warpath..." New York Times (Publisher) (1/6/96, p.C16) - Included on Jon Pareles' list of the Top 10 Albums of `95 - "...Samba, Nigerian juju, funk, reggae, hard rock and Indonesian music are just part of his arsenal of fierce, globe-hopping grooves..."

Chico Science & Nacao Zumbi's debut album represents a seismic shift in Brazilian music from the '60s tropicalia generation headed by Gilberto Gil, Milton Nascimento, and Caetano Veloso. Da Lama Ao Caos is a revelation, an organic fusion of the forceful maracatu rhythm from the Recife region delivered by massed surdo drums with overlays of metal-tinged hard rock or James Brown-style rhythm guitar, Chico Science's convincing rap vocals, and the creative sensibility of the dub/mix generation. The opening monologue's twanging berimbau and pounding drums set the tone before sweeping seamlessly into the power chords married to funk-riffing attack on "Banditismo por Uma Questao de Classe." "A Praieira" is centered on a staggered riff that drops down into the parade drumming perfectly and "Coco Dub (Afrociberdelia)" is a savvy maiden voyage into dubwise sound science. The artfully layered arrangements and impeccable command of dynamics enables the group to shift gears from the funky "Samba Makossa" to the title track's heavy guitar without missing a beat. Lino Maia's guitar is savagely intelligent throughout, the fierce rhythmic undertow never lets up, and Chico Science's staccato vocal bursts fit the musical framework like a glove. Rarely can you point to an album as the definitive marker of a change in musical generations, but the new Brazil started with Da Lama Ao Caos. ~ Don Snowden