With the release of Antropocósmico (2020), Pipo has set off to explore new grounds.
Despite the success of his previous albums and the three Latin Grammy nominations he has received with his productions, Pipo decided it was time to go on a new path. Granted, finding new routes and new musical possibilities has been a central element in his career. Still, this time it seems like Pipo and his ‘partners in crime’, Beto Montag (vibraphone), Vitor Fão (trombone), Daniel Pinheiro (drums) and Ricardo Braga (percussion), have decided to reinvent themselves in the studio.
Antropocósmico is purely instrumental, exploring a vast array of sounds, ideas, concepts and musical formulas. It builds bridges to a number of musical genres, just so it can then break them and head in a different direction. A myriad of possibilities which bring the jam session to the spotlight, trifling with details, being purposefully irregular on its structure, and thus creating its own identity.
The use of synthesizers adds yet another tone to the palette, but the musical construction remains analogic and, above all, played. When asked about his main musical influences, Pipo cites first and foremost musicians he has worked with, such as Xênia França, Serena Assumpção and others. He says they awake him to all sorts of musical flows while guiding him to find his own identity. This exchange between Pipo and his musical partners becomes clear in the album, conceived to let blossom the harmonic and melodic ideas that emerged in their music sessions, which started almost a year before Antropocósmico was released.
The name was inspired by a book by Olinto Pegoraro, “Ética da Solidariedade Antropocósmica” (Ethics of Anthropocosmic Solidarity, in a free translation from Portuguese). Olinto, who passed away in January 2019, was a professor of philosophy and Pipo’s uncle. Always a central figure in the philosophical, ethical and mythological talks of the Pegoraro family, he sparked in Pipo the idea that our thoughts are not confined to the borders of our planet. And that says a lot about Antropocósmico.
Music critics have created parallels between the album and musicians and bands from different backgrounds, saying it goes through a wide range of musical genres. Still, that is not what they put as its essence. It’s the conceptual aspect. Pipo has managed to build a futuristic atmosphere throughout the whole record, creating musical textures elaborated to rover through new creative worlds, taking listeners on an interplanetary journey. Or, as the name suggests, a cosmic journey. An anthropocosmic journey!
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As for Pipo’s previous albums, here’s a quick recap: his debut, “Intro” (2008), in the best DIY fashion, was his minimalist introduction to the music world, offering strong melodies and delicate textures through a blend of eletronic and organic sounds. Then came “Taxi Imã” (2011), with its mixture of Brazilian, Latin American and African influences, being very well received by the general audience as well as earning strongly positive reviews from music critics. His third musical venture, “Mergulhar Mergulhei”, basically recorded live, sought a rich and free collective construction where the approach to instrumental music is evident, once again gathering critical acclaim, as well as paving the way to the turn of events seen in Antropocósmico.