Cabruêra: Proibido Cochilar

="Description" CONTENT="Cabruêra, Proibido Cochilar (Piranha Musik)

Brazil's Cabruêra offers up an eccentric mishmash of their country's traditional musics (samba, forró, coco) with rock, jazz, hip-hop, and electronic music.


Proibido Cochilar

US Release Date: 2006-01-10
UK Release Date: 2005-10-17
Amazon affiliate

My love for this Brazilian group is no secret; not only have I raved about them on this website here and here, but Piranha is actually quoting me on the back of this CD. So, yeah, I love Cabruêra's eccentric mishmash of their country's traditional musics (samba, forró, coco) with rock, jazz, hip-hop, and electronic music. That combination just kills me, every time, and no one does it better than these guys, who hail from Paraíbo, which is located in the previously unfashionable northeast.

But I was a bit underwhelmed when I first heard this disc. Not that it's unpleasant; on the contrary, I thought it was great, fun, dancier than their debut, brighter, more listener-friendly. But it didn't seem to go anywhere that they hadn't already gone, and it was late last year when I was all obsessed with my 2005 year-end lists, and I kinda blew it off.

But it's a new year, and all my list-making is done, and I can listen to Proibido Cochilar with new ears -- and this album is a killer. Like their original, it's got hot two-step numbers like "Xingatório" and "Canção Pra Ninar", it's got trad stuff beefed up with state-of-the-art beats ("Auto de Zé Limiera", "Espinhos"), it's got drama and smarts for days. And Arthur Pessoa is still doing that whole esferográfico guitar thing (ballpoint pen + guitar = great texture), and Zé Guilherme is still the avant-gardiste in the group, and it's all like before...

...except, as it turns out, it's not. It takes a while to figure this out on casual listens, but this album is subtler and more textured than their self-titled record. "Batendo o Martelo Nas Mesmas Cabeças" ("Hitting the Hammer on the Same Heads") takes traditional forró music and injects afrobeat guitars and 1960s flutes. The way they mess with tempo on the traditional "Carcará" is a new and welcomed wrinkle, and I love the way they sample 90-year-old singer/flautist Zabé to give his his own track on "Zabé Sabe". "Magistrado Ladrão" is probably the only dance track ever to use words from Theodor W. Adorno and Max Horkheimer's "Dialectic of Enlightenment". (Sure, that's a trope stolen from Caetano Veloso, but it works like a bastard.) (And the appended drum-and-bass remix by Marcelinho da Lua is certainly the hottest Adorno/Horkheimer remix since, um, ever.)

So I was wrong to not include this on my 2005 top 10 list, probably, although it would have been cheating if I did, because it was actually released in Brazil in 2004, albeit in a different sequence and without all the bonus tracks -- wait, hold up, I just noticed that this is getting a 2006 release here in the U.S.! So it's back in contention, which is fine by me. Because it's a great freak of a record, and I love it very much in this new year.


From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Keep reading... Show less

Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

Keep reading... Show less

Burt Lancaster not only stars in The Kentuckian (1955) but directed and produced it for the company he co-founded with Ben Hecht. The result is an exciting piece of Americana accoutred in all sorts of he-man folderol, as shot right handsomely in Technicolor by Ernest Laszlo and scored by Bernard Herrmann with lusty horns to echo the source novel, Felix Holt's The Gabriel Horn.

Keep reading... Show less

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.