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LP - Juçara Marçal "ENCARNADO"


Released in 2014, ENCARNADO - Juçara Marçal's first solo record - is already cult and became a central reference of São Paulo's contemporary scene! Essencial!

After the success of the first edition, we are very happy and proud to announce the arrival of this new edition on vinyl, in a beautiful gatefold hard-cardboard paste-on cover limited to 400 copies!

Não diga que estamos morrendo. Hoje não!
(Do not say we are dying. Not today!)

Juçara Marçal is far from a rookie. It is now an over twenty-year career and an extensive discography launched alongside the bands Vésper, A Barca and Metá Metá. Juçara now ventures into his first solo album and does so in a surprising way. Encarnado (2014), more than an overview of his long artistic career, is almost a new start, pointing in a risky and unexpected direction, unimaginable even for those who have followed her long journey until here.

In his spiritual definition, encarnado is the spirit that temporarily occupies a human body. Encarnado also means to become flesh. Not coincidentally, Encarnado, Juçara Marçal’s record, have his whole repertoire marked by the theme of death. However, more than the end, it seems to indicate a search for renewal, rebirth, a desire for "another body", a "new flesh". Soon in the record opening track, by the verses of “O Velho Amarelo“ (Rodrigo Campos), Juçara claims: “Não diga que estamos morrendo, hoje não” (Do not say we're dying, not today). If death is inevitable, may she be faced without fear: “Vai, menina dos meus olhos, penetre entre os olhos, não há piedade, é só o fim, vai!” (Go, girl of my eye, penetrates between the eyes, there is no mercy, it’s just the end, go!). Then in “Ciranda do Aborto” (Kiko Dinucci) the theme of death appears in a disconcerting way, more explicit, violent. Violence in no way appeased by the ambiguity of his title. “Ciranda do Aborto” starts in the previous track “Odoya” (Juçara Marçal), a vignette that serves almost as an introduction. More than an introduction, she serves as a prayer, a blessing to the mother Odoya: “Agô Yabá, bença mãe” (Agô Yabá, blessing mother) and it will also serve as a request for help to cross the painful moment as described then: “Passa na carne a navalha, se banha de sangue, sorri ao chorar, cobre o amor na mortalha pra ele não acordar, sente no fel deste beijo, o agouro da morte a se revelar” (Passing in the flesh the razor, bathed in blood, I smiled to tears, cover the love in the shroud for him not to wake up, feel in the gall of this kiss, the omen of death to be revealed).

And how endure listening to a record built from such a deep subject, how unpleasant?
The answer is in Juçara Marçal’s voice. Under his singing hidden and unsuspected beauties gets revealed. And it does not stop, not even an instant. Juçara sings, even when she’s not singing. She sings when she speaks, in the speech of “E o Quico” (Itamar Assumpção). She sings when she screams, the post-tropicalist scream in “Não Tenha Ódio no Verão” (Tom Zé).

I remember Torquato Neto and his famous speech: "A poet does not become with verses, it is the risk, it is to always be in danger without fear, it is to invent danger and to always be recreating difficulties at least larger, it is to destroy the language and explode with it." Following Torquato’s playbook, when discoursing about death, Juçara has never been so alive. By reinventing her, it has not only opened up new possibilities for herself, but also to the whole Brazilian music. Her record is released in a time where the popular music has lost since some time the importance in the cultural formation of the country. Perhaps it is be much less heard and discussed than what Juçara and Brazil actually deserves. But It will serve from now on and for a long time, as an antidote against the nostalgic and paralyzing speech of the prophets of the end of Song. These should pay attention to what Juçara says loud and clear: “Não diga que estamos morrendo, hoje não” (Do not say we're dying, not today).

Edited text from the release of Romulo Fróes

A1 VELHO AMARELO (Rodrigo Campos)
A2 DAMIÃO (Douglas Germano/Everaldo Ferreira da Silva)
A3 ODOYA (Juçara Marçal)
A5 CANÇÃO PRA NINAR OXUM (Douglas Germano)
A6 JOÃO CARRANCA (Kiko Dinucci)

B1 QUEIMANDO A LÍNGUA (Romulo Fróes/Alice Coutinho)
B2 PENA MAIS QUE PERFEITA (Gui Amabis/Regis Damasceno)
B3 E O QUICO? (Itamar Assumpção)
B6 PRESENTE DE CASAMENTO (Thiago França/Romulo Fróes)

RODRIGO CAMPOS – guitar/cavaquinho
Featuring: THIAGO FRANÇA on “Damião” e “E o Quico?”

▶ Awarded first solo album from Juçara Marçal finally back in stock!

▶ Second edition limited to 400 copies edition in a beautiful gatefold paste-on hard cover!

▶ Full LP oficial download HERE.