It is easy to give Sonho do Mato plenty of listens as it has a quality that just glistens. This is one of the better compilations I’ve heard in years and it’s musically diverse, never staying in the same gear, although there is strong natural earthy and Latin cohesion in the 2LP’s overall atmosphere. Indeed, the Sonho do Mato musical chapter melds perfectly with the O MATO rainforest cruises, where minds from all over the world travel to a destination of mystery and imagination.
A fine mix of the future and the classic awaits
Sonho do Mato is as aesthetically pleasing as the lovely Amazon forest based artwork that dawns this 2LPs cover; it’s a fruitful musical landscape for a variety of music lovers. Styles range from acoustic ambient, nu-jazz, and techno, to hip-hop, jazz funk, library, and electro among others; the bliss of it all is cohesively held by imaginative color—a fine mix of the future and the classic awaits when you unfold this 2LP’s artistic gate.
O Mato Recordings is a brand new label created from the O Mato Travel Experience company; they host exclusive cruises of the Amazon Rainforest, an annual experience since 2017 that combines nature, music, and human bonding through it all. The current quarantine and travel restrictions of 2020 have postponed this year’s tour, however O Mato travel group has teamed up with Alexander Einetter’s Childhood Intelligence label to put together a double vinyl compilation with volume one of the Omato Recordings series. Before listening to the selections, I had intriguing feelings based on the artists featured on this fine collection; I was excited to see where the music would take my reflections, and indeed I left the experience feeling this is one compilation with a great display of style that I will be playing quite a while.
Centrally based in both Berlin and Brazil, Sonho do Mato features beautiful and deep compositions from all over the globe: BladymoreGalaxy, Cygnus, Dan Piu/Zarenzeit, Ewan Jansen, Foesum, Jos, KLM, Markus Sommers, and S. Moreira- all contributing to the fine story of electronics and organics that is told, starting with.
A reflection on this imaginative listening session ::
As soon as Markus Sommers’s “A Touch Of Silence” gets this O Mato musical cruise on the way, one can sense the hues of sun rays in the forests as field recordings of bird chirps and ambient pads serenade a new day. It’s downtempo in pace with a peaceful flow thanks to the acoustic guitar chords that are so free and mellow. Certainly an ambient track that can set the scene or relax and works very well with building a story in the listening experience—indeed a cohesive imagination.
Ewan Jansen takes the listener back to the mid 90s times of American West Coast G-funk—this time without the rhymes as Ewan uses chord washes and melodic pads to soothe the mind. The claps on the snares are indeed a grooving affair, along with the cowbell to keep things swell. Hats and finely textured sticks flow well with the bass of this tracks kicks, all the while it’s also a relaxing atmosphere of bliss. A bit of surprise as one might have been expecting Ewan’s distinct and colorful take on deep house music, but here he delivers a bonafide G-funk instrumental for the body and the mental; And it still sticks to the warm vibes of the rainforest, without doubt, the type of fun this compilation is about.
The next destination in sight is from Switzerland’s music connoisseur, Zarenzeit with “Miss You.” This track goes all the way back to 1994, and with its sassy female vocal lines, and jazzy hip-hop chords, it can make for some good times on the floors. The atmosphere and melody is dreamy in ways, and saturated with that old school haze, while colorful bleeps lead the track in charming ways. Cruising 808 drums provide the rhythmic fun, much like the boom bap groove you might hear in an early 90s smooth jazz track, and the bass is definitely on attack. Some fine melodies and progressions in the chords are played by Zarenzeit in this cool throwback to the love stories, lodged musically between the forest and West Coast lowrider nights.
The man behind Zarenzeit switches flights with his alias Dan Piu for “Radio Call Signs in the Rain Forest,” a stunning musical rendezvous. The deep keys of this track strive with soulful vibes that take to the Rainforest skies with lustre, reminiscent of lovely 70s Brazilian jazz colors, over a nasty DX7 bassline that is funky enough to start a dance show line. Meanwhile epic flute melodies create a presence that is divine in groove, as this story of life in a blissful mood rainforest unwinds. Here we get deep into the mix with the sounds of nu-jazz and techno. The rhythm is defined properly by driving and clap layered kickdrums with the perfect warm frequency; the kickbooms that melt just like you might hear in 1993, but with Dan Piu’s natural feel for arrangement that holds perfect with the free melodies. Surely the “Radio Call Signs in the Rainforest” is a track that bumps, shines, and stands the test of time; for the colorful music fan, it equally satisfies both the body and the mind. This is truly one of my favorite tracks on this amazing vinyl pack.
Side B continues to give the listener a techno world to explore with Jos “Fin Amor.” The melody in this track is melancholic, reminiscent of classic house music notes, with some nice bubbly leads suited for bleepaholics. Funky whistle effects throughout are also easy to make the ears catch, while the rhythm paces fast into more energetic places. Straightforward and ready to attack, is the nature of this track thanks to the stomping kickdrums that have plenty of bass in the back. The fine note about “Fin Amor” is the dynamic ways it can be used on the cruise ship floor or dance floors; with its classic melodies of bleep techno, and garage paced 4/4 for the energetic occasions it gets a high score.
Further along the corridors, we get into moody, Carpenter vibed and dark techno fantasies with “Human Light” by Bladymore Galaxy. The atmosphere of the melody brings a feel that is post apocalyptic classic and this mood is defined predominantly in the bassline. On the other hand, bleeps, bubbles, electric cowbells, and curious lines of acid create a feeling that is more intergalactic; vocoder chants also add a nice touch of atmospheric magic. The rhythm is hybrid in flavor, arriving initially in vibrations of electro vibrations before progressing into a flavor of raw techno. Suited for the darker nights and acidic types.
Enter vibrant UFO takeoffs from a river view with “Low Orbit” from Cygnus bringing the machine funk to you. “Low Orbit” floats finely in a world of melodic moonlit chords, and pads that create mystique filled and introspective atmospheres in great synchrony. Cosmic at times, but still interlocked with the nature of the rainforest trees and vines. Adding a fine lysergic touch, is the moody bassline, it adds a deep level of bass to the track as it grooves and unwinds. Cosmic electrosoul would best describe the feeling as a whole, courtesy of the raw charm on the 808 rhythm that hovers and navigates bass control. “Low Orbit” is fantastic with a lively combo of night time moods, deep electro, and warm acid lines. Perfectly suited for later hours that call for lush funk, and a superb track within these gates for the scifi and forest taste.
Markus Sommers returns with jazzy breakbeat grooves in “Paradisco.” The lines are blended finely between downtempo breakbeat and hip-hop while the bass guitar marinates the entree with funk. Chords with a romantic flavor of nature flow well with bright synth leads and washing effects to create a fine mixture of cosmic and jazzy sensibilities. There is a subtle organic feel in the boom bap to this track and the drums take the groove back to the days of early 90s conscious rap. It’s a true head nodding lounge affair with sensual melody everywhere.
LBC California is the home and music style represented by Foesum, as they drop a heavy funk cruiser with “Runnin Game (Instrumental).” This sound captures the vibes of sunny mid 90s California cruising funk at its peak; it has the charming high-def synth whistles, free flowing guitar chords, and a bassline that shakes the floor. Foesum’s original storytelling pace is a confident bet for those with the laidback taste, and it’s a nice ear treat with the live instruments and sunny synths in the track’s peaks. Obese kicks and snares layered with funk claps also release the flavors of old school funk/rap, and there is a cool depth in the sub-bass behind the stomps in the crunchy drums, at times it just wraps around the track.”Runnin Game” is a class hip-hop funk instrumental with smooth tempo and production—plus live instruments making it quite musical with an arrangement that is lyrical. You might find yourself delivering a freestyle rhyme as you enjoy its time. Growing up with this era of music, I can say it has aged fine like wine.
S. Moreira brings an antique jazz/funk flavor to the table with “O Funk do Mato”—full of bopping and cinematic jazz breaks and a nice suspenseful atmosphere. Likewise, there is a lot of personality in the Rhodes notes, as they morph into various moods and progressions, at times turning this into a psychedelic like late 60s Jazz session. The bass guitar lines keep up perfectly transitioning with the expressions of the Rhodes melodies, while hazy effects and laser blasts give this track a memory that lasts. The beat is classic funk breaks with crisp organic snares for the affair; fine drum rolls add to the fun and keep the groove on the one. Together with its catchy rhythm and deep expressions of atmosphere, this is definitely a track the distinct listeners will want to hear and keep near.
The Omato musical journey concludes with two excursions into Latin and library jazz territory from nearly 50 years ago from the KLM vaults. The first of these rarities is from Keith Mansfeld with his track “Incidental Backcloth No. 3.” It’s a slower paced library feel with warm acoustic sticks finely tapping the rhythm appeal, while beautiful piano keys play out behind flutes that travel like a breeze. It certainly sets the scene of an organic night by the rivers and trees, and is just one of those smooth tracks meant to be experienced on wax.
The same can be said of Tony Kinsey’s “Virgin Island,” the vibe here however is the victory theme type; notorious spy auras and guitar chords playing out like loops, while the intensity peaks with flutes that are an absolute treat. In a way this opens the feel of the island, a rare scape of musical and vegetative lands. The mood is perfect between laid back, charming, and mysterious in this island created by Tony Kinsey and his band.
There is nothing like playing these two in the morning, or on a Sunday afternoon with the right aromas and herbs in the air.
Concluding reflection ::
It is easy to give Sonho do Mato plenty of listens as it has a quality that just glistens. This is one of the better compilations I’ve heard in years and it’s musically diverse, never staying in the same gear, although there is strong natural earthy and Latin cohesion in the 2LP’s overall atmosphere. Indeed, the Sonho do Mato musical chapter melds perfectly with the O MATO rainforest cruises, where minds from all over the world travel to a destination of mystery and imagination. This forest is dense with moods ranging from cosmic, to introspective, soulful, and suspense—you’ll hear ambience, library music, future jazz, electro, techno, and California G-funk syncing in one place on this work of art and it all makes sense.
The presentation is beautiful as well, blessed with fine touches of tropical birds and rainforest sensation, courtesy of superb work by the very talented Rachel Newman on the illustration.
Jonas Köksal & Alexander K. Einetter did a wonderful job on the track curation. For those who seek color and variety in their listening destinations, it is essential to own this compilation without hesitation.
Sonho do Mato is available on O MATO. [Bandcamp]
