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		GUSTAVO JOBIM: ROUND MI RESENHAS

      o Artemi Pugachov / Encyclopedia of Electronic Music
      o Phil Derby / Electroambient Space
      o Jeroen Onderdelinden / Alfa Centauri Magazine
      o Matt Howarth / Sonic Curiosity
      o Rock Progressivo Brasil

o "Brazil sometimes gives us quite unusual EM, and this album is no different. Here, synthesist Gustavo Jobim created a set of tracks which is very difficult to describe.To say diverse is to say nothing. To my mind, most of it will appeal to fans of the Berlin School, but the range of sounds and influences on this album is huge.

There are three tracks in Round Mi. First comes the title track which is a suite divided into four parts. The first part ("Floating Tones Around Mi") has a very rich synth sound and propelling sequence. Pretty exciting stuff. The second part is called "Lament" and fittingly it features slow and darkish piano playing coupled with other instruments, nature sounds and light synthetic touches. There's also funeral-like bass line underneath it all. "Procession" is rather doomy and sounds influenced by chamber music. "Leaving the Atmosphere" shows strong progrock influences and really sounds like a chamber/progrock piece sans drums.

Clouds is a 31-minute epic that starts with drawn-out ambient tones but after a while a sequence starts and increases in pace. It then takes center stage and dominates the bulk of the track. It all has an airy, bright sound, really, which pretty much corresponds to the title. The track doesn't change a lot throughout its course but it does manage to create a hypnotic and somewhat calming effect, in spite of the fact that it's rather upbeat.

Loopsurf-Loopsearch is the last track and it's the best one on the album. It's rather experimental compared to what has gone before and features a lot of loops (surprise, surprise!) and sequenced elements. I can hear some Klaus Schulze influence here, but the track doesn't sound much like anything Klaus has ever put out. It's the most synthetic sounding piece.

I do notice a few bum notes and out of sync elements but Gustavo is only in his early-to-mid twenties which is a very young age for progressive music. Recommended. The album comes with a list of thanks which is an interesting reading. It includes (apart from the obligatory Schulze, TD, Vangelis and Jarre) people like Philip Glass, Änglagård, Anekdoten, Can, Carl Orff, Mahler, Radiohead and other great names."

o "The title track of this exceptional CD by Gustavo Jobim from Brazil is a four-part suite, beginning with "Floating Tones Around Mi." It opens with solid sequencing and a great melodic progression, drawing the listener in quickly. "Lament" immediately changes the tone, more reserved. Melodic lines are particularly well developed as a piano deftly maneuvers through synths and the sound of a gentle rain. "Procession" changes things dramatically, with a single pounding tympani-like beat. Organ music adds to the procession as the feeling grows. "Leaving the Atmosphere" changes moods yet again. Throughout "Round Mi," but particularly so in this fourth movement, I'm reminded of how Klaus Schulze blends classical and modern synthesizer influences, although Jobim's sound is all his own.

If you prefer more straightforward electronics then you may just want to play the 31-minute "Clouds" on infinite repeat. Starting with soft textures and atmosphere, a laid-back sequence starts going into the fifth minute, gradually picking up speed. Jobim then rides this mesmerizing phrase all the way through. Synth oboes are beautifully rendered, very much like classic Tangerine Dream. With only subtle changes over its course, "Clouds" captivates.

"Loopsurf - Loopsearch" chugs energetically along in a sequence not quite like anything I've heard before, low and mechanical. A brighter hypnotic loop merges over the top. Gradually, more synths are added. It's a distinctive hybrid between the likes of Klaus Schulze and Philip Glass. After moving briskly along for the first half, the latter half drifts into deep space with bleeps and blips of an otherworldly kind. Round Mi is a unique and excellent take on Berlin school from Brazil."

o "This release from 2002 features 73 minutes of versatile electronic music.

Peppy pulsations mark this CD's opening track, achieving a tasty melody that floats with a distinct vigor. This leads to an atmospheric mood that is generated by ethereal textures, while piano and sampled rainfall provide a touch of humanity. After a passage laced with funereal percussion counterbalanced by serious harpsichord, the pace picks up with lively keyboards that evoke an ascending motion with woodwindish embellishments. As the piece reaches its conclusion, prior elements converge with majestic poise.

The next composition clocks in at over thirty minutes length, allowing Jobim to explore a long-form structure employing electronics mixed with synthetic orchestral touches. While ambience becomes the temperament here, subtle rhythms emerge as pulsations ricochet to contribute an edgy melody to the misty harmonics. This soft tempo leads to a stretch of soothing electronic serenity, but this serenity seethes with the promise of livelier material, which arrives in the form of rapidly pattering cycles as the pulsations pursue an engaging structure of mounting (but still serene) tension. The music unfurls hypnotic qualities as the looping keyboard chords increase velocity, reaching an urgency that is nicely tempered by a rising tide of heavenly harmonies.

The third track applies an energetic arrangement to looping aspects, augmenting the growling cybernetic cycles with delicate keyboards. Sedate postures are invigorated by this blend as complex keys overwhelm the mixture while retaining a comfortable ease. Auxiliary effects assemble, picking at the core melody with fanciful results.

Jobim's music displays a softly symphonic undercurrent that is congenial and uplifting, enhancing the drifting electronics with traditional substance. His tendency to inject lively elements makes for a satisfying listen."

by Matt Howarth
©2005 Sonic Curiosity (issue #16/2005)
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o (a próxima resenha foi traduzida do holandês pro inglês por Johan Steller (obrigado!). O texto original em holandês segue.)

"Stumbling over Poulenc and Philip Glass

(...) "Round Mi" starts a little spooky. Think about Poulenc, who in his pieces for piano also created a kind of ghostly atmosphere. Gustavo places Poulenc behind an electronic clavichord and accompanies him with a sequencer. Very successful. The accompanying rhythm is now and then originally disturbed by false rhythms. The sequencer seems to stumble at those times. At the end pace and structure resemble the fast pieces from Philip Glass' "Koyaanisqatsi".

"Clouds" lasts 31 minutes. It begins very quietly with tempting floating strings which sound a little like light clarinets. Tension then rises dangerously in the direction of sirens. The sequencer then goes race walking and at full speed of about 100 bpm a layer of clarinet-like strings is added, which does nothing more than singing a tone higher or lower. There is some tension in this but it silts up and becomes dull then.

"Loopsurf-Loopsearch" is the last piece on the CD with an electronic Philip Glass rhythm added with a little musical tune. After ten minutes the fast rhythm disappears and fades into abstract noises in a resounding room with a mysterious atmosphere from the abstract departments of the Berlin school in the late Seventies. Well done.

It is a CD which you have to hear several times before you start to like it. Something the playing is a little clumsy, but that is not really disturbing. The album may not be highly original, but the music has a sound of its own indeed. And that is promising for his future music. Technically the CD has a dry sound with a reasonable recording quality. A CD which is valuable for EM-lovers who like sequencers and Philip Glass-like rhythms."

Agora, o texto original em holandês.

"Struikelend over Poulenc en Philip Glass

(...) "Round Mi" begint een beetje spookachtig. Denk eens aan Poulenc, die in zijn pianoconcerten zo'n spookachtig sfeertje wist te creeren. Gustavo zet Poulenc achter een electronische klavecimbel en begeleidt hem met een sequencer. Erg geslaagd. Het ondersteunende ritme wordt af en toe origineel verstoord met valse ritmes. De sequencer lijkt dan te struikelen. Aan het einde lijken tempo en structuur veel op de drukke stukken uit Philip Glass' "Koyaanisqatsi".

"Clouds" duurt 31 minuten. Het wordt heel rustig opgebouwd met spannende floating strings die een licht klarinetkarakter hebben. De spanning loopt gevaarlijk op richting sirenes. De sequencer gaat snelwandelen en op volle toeren van zo'n 100 bpm wordt een klarinetachtige string gelegd die helaas weinig meer doet dan een toontje hoger of lager zingen. Er zit wel wat spanning in, maar het verzandt en wordt saai.

"Loopsurf-Loopsearch" sluit de CD af met een elektronisch Philip-Glassritme dat met een riedeltje wordt aangevuld. Na 10 minuten verdwijnt het drukke ritme tot abstracte geluiden in een galmende ruimte met het geheimzinnige karakter uit de abstracte afdelingen van de Berlijnse school eind jaren zeventig. Mooi gedaan.

Het is een CD die je een aantal keren moet horen om hem te waarderen. Soms wordt er wat houterig gespeeld, maar het stoort niet echt. De sound is niet echt anders, maar wel herkenbaar. En dat is veelbelovend voor zijn toekomstige muziek. Technisch is alles droog opgenomen met een redelijke opnamekwaliteit. Een CD die de moeite waard is voor EM-mers die sequencers en Philip Glass-achtige stressritmes kunnen waarderen."

por Jeroen Onderdelinden
©2004 Alfa Centauri Magazine
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o "Vamos lá: cite um disco de música eletrônica de um artista brasileiro. Falo da VERDADEIRA música eletrônica, aquela da escola de Berlim e não o que a mídia chama de música eletrônica. Conta-se nos dedos. Aqui na RPB nós já resenhamos alguns.

Da Som Interior chega essa novidade realizada por Gustavo Jobim, de 19 anos. Um trabalho de personalidade. Não espere ouvi-lo tocando em rádios convencionais ou fazendo shows. Não existe espaço. Quem gosta do estilo sabe que pode confiar. Estamos diante de um trabalho que irá abrir as portas da música eletrônica no Brasil. Eu mesmo tenho um projeto e me animei em lançar um CD por causa deste disco. Bola dentro de Gustavo e da Som Interior, que acreditou no seu trabalho."