Cabezas Flutuantes emerged in 2011, on a mission to unleash the musical experiments of audiovisual artist Carou Araújo. In October 2013, they released their first album, “Registro”, free of charge, online. The band’s debut, which featured a unique sound, full of textures, unusual sounds and originality, was included in several lists of best albums, including Scream & Yell website’s list of the 50 biggest online releases of that year.
To create a universe of sonic dialogues, Cabezas Flutuantes utilize instruments that are either homemade or not commonly used. As well as synthesizers and light theremin, the sounds of objects such as pencil sharpeners and improvisations with duck whistles and chimes are present in the collective’s musical experiments. These disparate sonic interruptions, combined with instruments such as guitar, bass, electric guitar, trombone, trumpet and ukulele, among others, combine to create the aesthetic identity of the band.
In March 2016, the group released the album “Experimental Macumba”. The pre-release promotion of the new work took place in Austin, TX, USA, at the SXSW Festival. The record puts a spotlight on the compositions by the stong partnership of Carou Araújo and Fábio Cardelli – who were also the producers of the work – and relocates the noise/pop/experimental universe of the group to more tropical soundscapes.
This polyphony, the result of many encounters and collaborations, is definitely one of the triumphs of Experimental Macumba, in that, although diverse, it never sounds disparate or disunified – and it is interesting to note that this unity does not come from, as is common in the pop universe, the figure of the ‘frontman.’ By giving up on the notion of a fixed vocalist, Experimental Macumba is continually renewed: the song surges up and takes shape in different voices, identities, and timbres. The album also reveals a more politicized approach towards subjects familiar to the contemporary Brazilian consciousness.
Translation by Allana & David Evens