A member of Metá Metá and collaborator with the likes of Tom Zé, Criolo and Elza Soares, guitarist Kiko Dinucci channels the great Brazilian musicians such as João Gilberto and Jorge Ben on solo album 'Rastilho'. Influences of jazz and classical Brazilian music are filtered through his punk vision here.
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Kiko Dinucci has had the great privilege of working with Elza Soares, perhaps Brazilian music’s all time legend. On the magnificent ‘The Woman At The End Of The World’ he provided the incendiary guitar playing that helped shape that record into something that felt completely out of time. On ‘Rastilho’ we get a closer look at that guitar playing, and it really is something special.
There’s a quote from Dinucci in the press release for the album in which he says in his playing he tried to synthesise more trad. guitar playing with the hardcore music he listened to as a younger man. And I think he’s successful at that. There’s a ferocity in his music, but also a patience and sense of space he’s able to create all on his own. This is very much a solo guitar record, tracks like ’Febre do Rato’ see Dinucci plucking out an ominous bassline out of a thrash metal tune, while twinkling away on the top strings. ‘Gaba’ sounds like an entire band shredding an acoustic guitar, but without any distortion there’s a distinct sense of clarity and expressivity.
‘Rastilho’ features a number of guests, and it’s truly admirable the variety Dinucci gets out of them. ‘Dadá’ is a percussive shouting match between him and Ava Rocha, while ‘Foi Batendo o Pé Na Terra’ has Dinucci leading an entire choir. His voice leads a beautiful call and response over one of the album’s more conventional guitar lines. But then he strums full chords, something he rarely does. They're rich and powerful, chords only someone who knows the power of a minute long punk tune could use.
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