|I. The Disquieting Muses||2:14|
|III. The Spell||7:29|
|IV. Origin of the Obsessions||8:02|
|V. We Atomic Children||3:30|
|VI. The Mystery of San Gottardo||2:55|
|VII. At the Bottom of the Shaft||9:49|
|I. Hallucination by the Seashore||6:13|
|II. Living in the Light of the Immortal Worlds||9:30|
|III. The Eleventh Hour||2:18|
|IV. Apparition of the Ghost of Erik Satie||3:04|
|V. The Flock of Birds||4:04|
|VI. Iconoclast's Despair||2:30|
|VII. Eternal Sorrow||9:58|
Gravado: Gravado e composto entre 2001 e 2012
Lançado: 2013 - Download digital via Bandcamp - Lançamento independente
Instrumentos: Gustavo Jobim: Sintetizadores Roland XP-30 e MicroKorg
Músicos convidados em "Eternal Sorrow":
- Thelmo Cristovam - trompete
- Filipe Giraknob - guitarra
- Eduardo Pletsch - guitarra
Gráficos: Foto e design por Gustavo Jobim
Nº de Catálogo: GJ0120
Sobre este álbum: Extraído do encarte do álbum: "Oficialmente o 12º álbum solo, Manifesto foi originalmente concebido para ser o sucessor de Round Mi, meu álbum de estreia (...) decidi criar uma obra conceitual, que tivesse um pouco das minhas influências mas também suficiente afastamento delas para que mostrasse o máximo da minha própria identidade musical. Esta decisão fez com que o álbum levasse dez anos até atingir a maturidade." (Gustavo Jobim)
Esta página: www.gustavojobim.com/pt/manifesto
Pense em Klaus Schulze ou um Tangerine Dream ainda mais intenso. A eletrônica alemã se faz presente no trabalho de Gustavo Jobim, mas apenas para quem busca contexto. No quesito significação, Manifesto sugere outros caminhos seguidos pela eletrônica brasileira. O músico carioca não pretende agradar ou adquirir séquitos neste disco: exibe mais uma procura pessoal pela tortuosidade de sintetizadores e percussão, jogando o ouvinte para uma selva desconexa de zumbidos, interferências, melodias e experimentos.
In the firmament of independent artists who produce some very good music, a well made and well mixed music, you should not forget Gustavo Jobim's name who can give a lecture to so many artists who emerge on well know labels. Manifesto is his 11th [12th] opus. Divided into 2 parts, like a double album, with 7 tracks for each part, Manifesto is inspired by the life of two artists who had an influence on the artistic vision of the Brazilian synthman; the Swiss painter H.R.Giger, to whom we owe the ET-monster of Alien, and the Brazilian poet Augusto Dos Anjos. It's an intense work. Difficult to tame but splendidly put in music, where the madness is hidden behind every second. An album mainly of ambiences. Dark, intriguing and anguishing ambiences where the phases of rhythm unfold to lose breathe on lines of synth to tones of Synergy and old organs of darkness.
"The Disquieting Muses" opens the ball of insanity with a synth line crushed by choirs to the chthonian hummings. And such as a plasmatic merycism, this synth line subdivides its fears with ghostly tones of old organ which float among these voices became composite where the opaline tints get muddled up to more ethereal breaths in an intro as so ambient as dark. We would run against death that it would be as in "Biomekanik". The rhythm is delirious and engenders chaos with a meshing of sequences, pulsations and wooden percussions which runs to lose breath under the laments of a vampiric organ and of a synth which moves closer to the surreal atmospheres of the Cords album from Synergy. Intense and hard-hitting, that destabilizes the hearing. Brilliant! "The Spell" brings us back in the universe all in contrast of Manifesto with a long ambient phase which breathes on an oceanic background music where we hear the bubbles of oxygen gurgle through an entanglement of lines to the sibylline tones which quietly permute into some organ tones of an occult cathedral. I would run against madness that it would be like in "Origin of Obsessions". After some sound waves which tear the blackness of their anfractuous blades, the rhythm settles down. Black and heavy, it pounds of its stormy oscillations to flee an avalanche of synth lines of which the quirky and shrill tones condemn the madness as being the last rest. After its thunderous call to madness, "We Atomic Children" establishes a climate of discomfort with its black pulsatory lines which float and interlace on a Mephistophelian dialect. "The Mystery of San Gottardo" suggests a tormented melody with a piano, at first glance rather melodious, which isolates itself in an alienating zone. "At the Bottom of the Shaft" encloses the first part of Manifesto with a long phase of dark ambiences which flows through a synth and of its grave, droning lines and delicate fluty bouquets.
"Hallucination by the Seashore" begins the 2nd part with a structure of rhythm which makes jump its keys shapers of rebel rhythms in a fascinating symphony for steps lost in oblivion. The rhythm is bubbling in its static approach, knocking off a melody which seeks for support over the delicate and very discreet synth lines. "Living in the Light of the Immortal Worlds" is a long ambient passage where synth lines squeak in unison into some enveloping chthonian choruses. Not more given rhythm, but livened up of undulating synth layers to tones of old organ, "The Eleventh Hour" throws its waves of agony which roll in the ear like a caress on the back of a penniless. It's as much intense as deeply moving, even if very black. The piano of Satie can be as beautiful as violent and tormented, Gustavo Jobim shows it on "Appearance of the Ghost of Erik Satie" which offers a very beautiful 2nd portion before make jostle its notes in "The Flock of Birds" which adopts effectively the social life of a flock of bird with their innocences and their fears. And then the piano becomes source of madness on "Iconoclast's Despair" which wears marvellously the sense of its title. "Eternal Sorrow" is ending Manifesto in two parts. If the first one is intense of its black and morphic synth veils, the 2nd plunges us into the cave of a dishevelled structure which honors the black, sibylline and convoluted ambiences which overhang an album where both inspirations of Jobim feed on a vision of torment, even of anxiety.
Manifesto is not for all ears. It's an album where the beauty hides in its approach of oddity, and sometimes iconoclastic, insanity. But the atmospheres are enveloping. Very enveloping. And the music is breathing of these adventurous synths that Larry Fast tortured in his first Synergy albums. I like. It's like reading an old story of Edgar Allan Poe on the end of your buttocks so much we are on the edge.
Gustavo Jobim's Manifesto has been several years in the making. In fact, he has been working on it on and off since 2001 - the period during which his first official album was released. Consequently, it can be considered his magnum opus.
"The Disquieting Muses" kicks in with heavy mellotron choirs. The atmosphere here is solemn and dramatic and it's a really nice intro that will please all fan of 'tron sounds and 1970's German EM (i.e. Froese). "Biomekanik" changes the pace abruptly, with its frenetic sequencer rhythm and dramatic orchestral melodic figures. This is some sort of a wicked Berlin School sound that's 50% Tangerine Dream and 50% Art Zoyd. "The Spell" is next. When I heard the murky, dreamy, Giger-esque, insomnia-infused soundscape that Gustavo built, I was bought completely. Those who enjoy the darker side of the EM spectrum should hear this as soon as possible. "Origin of the Obsessions" returns to the dark Berlin School formula. If Edgar Froese recorded his "Aqua" in a deep underground cave, this is perhaps what it would sound like. "We Atomic Children" is a relatively short but intense post-apocalyptic soundscape that has a vocoder intro reminding on Kraftwerk circa "Radio-Activity" and then develops into something quite unique and symphonic. "The Mystery of San Gottardo" is a piano interlude in an already familiar Gustavo Jobim style. "At the Bottom of the Shaft" concludes the imaginary "Side one" of this album. Once again we are treated to a dark electronic journey filled with resonant synth textures, stomping sounds (like someone walking in the distance) and other samples. Classical influences creep in as the track progresses, in the form of dreamy oboe playing.
"Hallucination By the Seashore" heralds the coming of the second part of the album. The track is based on fast-paced sequence / arpeggio sound and soft background orchestral textures. It is slightly (only slightly) in the vein of 1990's Klaus Schulze (right at the end of his sampling phase he had this "classical / opera" phase, circa 1993-1995). "Living In the Light of the Immortal Worlds" takes the epic KS formula again (I am somehow reminded on "FM Delight") but infuses it with a special "Gustavo Jobim" feeling. This is excellent music, guys, especially if you can't get enough of those dreamy Schulzian synth chords. "The Eleventh Hour" is a short track that sounds like a soundtrack to a horror flick - it's all spooky organ textures and reflective melodies. "Apparition of the Ghost of Erik Satie" is, as expected, dominated by piano. Repeating chords and melodies swirl around you, creating an impressionistic whirlpool of sound. "The Flock of Birds" continues with the piano formula, although this time it is much more similar to what was heard on Gustavo's previous piano albums, which means lots of repetition in a minimal context, relying on faster piano runs. "Iconoclast's Despair" repeats the formula, adding experimental electronic sounds. On the other hand, the closing "Eternal Sorrow" was a real surprise and represents a facet of Gustavo's music that was not demonstrated on previous releases. Basically, we are dealing with ambient music here, but it's Ambient as seen by musicians of the Black Metal scene (remember Burzum?). If depressive synth chords and atmospheric noises are your thing, give it a shot.
Manifesto is for me the definitive Gustavo Jobim. If you only want to have one album by him in your collection (why would you?), this would be it. The album demonstrates all the styles that Gustavo worked in over the years and does it pretty well. The selections are well thought-out and there's nary a weak moment during more than 70 minutes of its length. A winner.