Words by Justin Turford
Living on an island in northern Europe means less sunshine and heat than others nearer the equator so thank the gods and goddesses for this vitamin D drenched album from Brazilian artist Tagua Tagua. When I mean drenched, I mean my sunshine-denied body is metaphorically dripping from the heat and love vibes from this debut album of remarkable accomplishment. Imagine Marcos Valle, D’Angelo, John Carroll Kirby, Eddie Chacon and Bobby Caldwell in full lush mode, loved up and subsisting on a diet of Philly Soul and the orchestral ambition of SAULT’s Inflo and you’re nearly there. It’s that good.
Press Pic #1 Tagua Tagua by Guillermo Calvin
Outside of it’s obvious musical delights, Tagua Tagua’s first album for Nickodemus’ NYC label Wonderwheel Recordings harbours a distinct sentiment that never lets up throughout its duration. Neck massaging love songs cloaked in a hazy future-soul sound that harks back to Memphis as much as Tropicalista Brazil. Tagua Tagua is São Paulo’s Felipe Puperi and he is the brains, heart and soul of this record, equally adept on electric guitar, piano, bass, keys and organ, his deliriously tender voice the icing on this summery cake. Joined by Leo Mattos on drums and percussion, João Agusto Lopes on extra guitar and a string section, Felipe’s previous incarnation as a psyche-soul operator has been washed away by a wave of perfect pop songwriting. I only say the forbidden word ‘pop’ because of the universality of the central theme (L.O.V.E.) and due to the album’s gorgeously produced lightness of being that really does deserve to gain wide exposure and acclaim.
There is a well-defined palette that permeates the songs here. A palette that draws from the past - Bill Withers-esque strings, southern soul rhythms, fuzzed guitar lines that echo his retro-psyche inspirations - and from a contemporary angle - with squelchy synth lines and arrangements that nod towards the best of the neo soul movement of the 90s. ‘Pra Trás’ opens Felipe’s new direction with a befitting song about moving on, his magpie tendencies blurring the lines between dream pop and a driving 70s soul ballad with swooping strings, falsetto vocals that soar in the chorus, and a subtly beautiful guitar solo to finish. Welcome to his new vision.
‘Tanto’ keeps the low intensity tempo and aims straight for the heart with a slinky groove, funky organ licks and a BIG chorus. A summer anthem straight into the ‘drive along the coastline’ playlist. ‘Me Leva’ is a head nodder par excellence. A strong backbeat holds it down as Felipe keeps it cool, cheeky guitar and keys interplay, harmony dripping choruses and lovely chord changes keep it surprising.
The groove and tempo pick up for ‘Brisa’ with the rhythm section whipping it up, layers of wonky boogie synths and (another) wonderfully soporific vocal keeps the vibe gentle while your body tries (and fails) to not move.
By the time you get to ‘Barcelona’ the listener will be submerged into Tagua Tagua’s universe. Dreamy, wavy, huge chorus action and kind of druggy; reverb is our friend. ‘Starbucks’ is where we start to hear the influence of D’Angelo, at least in the instrumentation. Sassy keyboard lines and rimshot drums allied with tiers of guitar work that go from washy chords to picked melodies, suggesting to me a future downbeat classic has appeared. The opaquely titled ‘OODH’ continues in a similar vein but slows it down even more. A catchy as hell synth melody (Felipe is bursting with sublimely crafted hooks, Shuggie Otis and Marcos Valle would be proud), and a lazy groove remind me a little of the sleazy ebullience of Connan Mockasin, embracing a more synchronous sound as similar travellers.
‘Colors’ is an instant classic of yearning and lovelorn atmospherics. Patrick Adams like bubbling synths, languid but precise beats and a chorus to die for - a highly tuned vessel for Felipe’s extravagant talents. ‘Cada Paso’ dreams along in a sunset of timbres and cosmic watercolours before album closer ‘Te Dizer’ takes it right down to guitar, vocals and a simple drum backbeat. Dizzying chorused guitars enter and lead to the return of the string section and the last of his wonderful bridge and choruses.
Props have got to be given to fellow Wannabe Jalva band member Tiago Abrahão, who has mixed this album so beautifully, just the right amount of powerful clarity and vapour trails. Also to the mastering by Brian Lucey (The Black Keys, Chet Faker) and to Ballantyne Communications for keying me into this baby.
A summer record for all year round. 9.5/10
Released on March 3 2023