Axl Rose, stand down. A new benchmark for gaps between albums has
just been set by a true legend. Haih or Amortecedor is the first
album of new material by iconic Brazilian collective Os Mutantes in
three-and-a half decades. How important is this band? They were ’60s
contemporaries of Gilberto Gil, who welcomed them into the
Tropicália fold, and they’ve been cited as an influence by Beck,
David Byrne, Flaming Lips, Devandra Banhart and Kurt Cobain, who
lobbied unsuccessfully to get the band to reform and open for Nirvana
on their 1993 Brazilian tour.
On Haih or Amortecedor, Os Mutantes start with the foundation
they established more than 40 years ago: a psychedelic take on
Brazilian rhythm pop —which also poked fun at the country’s
military rulers, earning them government threats — re-imagined
for the 21st century. The result is a whirlwind of past triumphs and
fresh evolution. Os Mutantes are mad cultural monks whose hymns are
stitched together from Beatles influences, bubbling bossa nova,
Tropicália with Hendrixian flash, sonic collage techniques they
devised in the ’60s that are considered cutting edge today, epic prog
touches and a Zappa-like affinity for ridiculously appropriate
counterpoint. Os Mutantes have crafted the rarest of all possible
musical works: Haih or Amortecedor fits perfectly in the context
of OM’s catalog yet it’s as vibrant and relevant as the music of their
grandchildren’s generation.
— Brian Baker
This article appears in Sep 9-15, 2009.
