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Toquei No Sol
A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether. Marlene Ribeiroās debut for Rocket Recordings and first album under her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.
This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.
Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford. Itās genesis came via a visit to Marleneās maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal. can be heard on the albumās first track āQuatra Palavrasā.
āEmilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those timesā relates Marlene āFrom that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.ā Elsewhere, a disarmingly catchy and irresistible grace is married to a utilitarian approach to sound and texture. The ritualistic āSangue De Lua de Loboā (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marleneās then-garden in Ireland, whereas on the drifting, beatific āForeverā the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.
Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the loop-driven psychedelia of Panda Bearās Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is very much Marleneās alone.
āItās all a big misty haze of nostalgia, playfulness, self-reflection and hopefulnessā is what Marlene reckons herself. Yet Toquei No Sol is also a transporting vision from an artist both returning to her roots and looking out to new celestial horizons.
This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.
Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford. Itās genesis came via a visit to Marleneās maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal. can be heard on the albumās first track āQuatra Palavrasā.
āEmilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those timesā relates Marlene āFrom that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.ā Elsewhere, a disarmingly catchy and irresistible grace is married to a utilitarian approach to sound and texture. The ritualistic āSangue De Lua de Loboā (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marleneās then-garden in Ireland, whereas on the drifting, beatific āForeverā the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.
Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the loop-driven psychedelia of Panda Bearās Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is very much Marleneās alone.
āItās all a big misty haze of nostalgia, playfulness, self-reflection and hopefulnessā is what Marlene reckons herself. Yet Toquei No Sol is also a transporting vision from an artist both returning to her roots and looking out to new celestial horizons.
$31.89
Toquei No Solā
$31.89
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Description
A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether. Marlene Ribeiroās debut for Rocket Recordings and first album under her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.
This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.
Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford. Itās genesis came via a visit to Marleneās maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal. can be heard on the albumās first track āQuatra Palavrasā.
āEmilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those timesā relates Marlene āFrom that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.ā Elsewhere, a disarmingly catchy and irresistible grace is married to a utilitarian approach to sound and texture. The ritualistic āSangue De Lua de Loboā (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marleneās then-garden in Ireland, whereas on the drifting, beatific āForeverā the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.
Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the loop-driven psychedelia of Panda Bearās Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is very much Marleneās alone.
āItās all a big misty haze of nostalgia, playfulness, self-reflection and hopefulnessā is what Marlene reckons herself. Yet Toquei No Sol is also a transporting vision from an artist both returning to her roots and looking out to new celestial horizons.
This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.
Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford. Itās genesis came via a visit to Marleneās maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal. can be heard on the albumās first track āQuatra Palavrasā.
āEmilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those timesā relates Marlene āFrom that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.ā Elsewhere, a disarmingly catchy and irresistible grace is married to a utilitarian approach to sound and texture. The ritualistic āSangue De Lua de Loboā (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marleneās then-garden in Ireland, whereas on the drifting, beatific āForeverā the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.
Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the loop-driven psychedelia of Panda Bearās Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is very much Marleneās alone.
āItās all a big misty haze of nostalgia, playfulness, self-reflection and hopefulnessā is what Marlene reckons herself. Yet Toquei No Sol is also a transporting vision from an artist both returning to her roots and looking out to new celestial horizons.
