Ana Frango Elétrico is a tremendous younger expertise. Having simply launched her second album, “Little Electrical Hen Coronary heart,” she is slowly however absolutely making her means into being some of the talked-about new musical acts, getting rave opinions all throughout the boards from many notable music publications. Along with her distinctive mix of storage rock guitars, breezy bossa-nova, and considerate lyricism, Ana’s music makes for the right soundtrack to each remoted self-reflection and sun-kissed walks. I talked together with her about her songwriting course of, new album, and to search out out what makes her tick.
Q: What impressed you to make music? Any musical inspirations/influences?
A: Primarily, my music companions and associates. I’ve been enjoying the piano and doing different musical practices since I used to be younger. This was important to my growth as a composer. I’ve many influences together with Jorge Ben, Gilberto Gil, Itamar Assumpção, Caetano Veloso, and in addition my contemporaries, Ava Rocha, Negro Leo, Maria Beraldo… All of them encourage me and stimulate my composition course of.
Q: The place did the stage identify “Ana Frango Elétrico” come from?
A: “Frango Elétrico” means Electrical Hen in Portuguese. My final identify is Fainguelernt, of Russian origin, so “Frango Elétrico” got here from a poetic train, enjoying with sound and meanings of the phrases of my final identify. I get pleasure from having an alter ego, it provides me the liberty to create in different views. Additionally, the best way it sounds is sort of a fusion of people with animals and machines (Ana Electrical Hen). It additionally addresses the very fact I don’t belong to any of these “nice households” of Brazilian composers, which we get quite a lot of over right here, so it breaks the patriarchal surname heritage.
Q: The sound of your newest document differs out of your first document, “Mormaço Queima.” What impressed the change in path?
A: My current album, “Little Electrical Hen Coronary heart,” got here from a three years technique of growth from my expertise on the studio, between “Mormaço Queima” and LECH. “Mormaço Queima” was certainly one of my first experiences in a studio, recording songs I wrote at 16. I recorded them, wanting them to be precisely the best way I conceived them in my head. The concept for it was—a “decadent bossa-pop rock performed in a punk means.” I fastidiously deliberate LECH, from the primary to the final tune, from its conception to its mastering, from the microphones to its cowl. There was a want to train and execute my ideas as a producer, versus solely a singer, guitarist or composer.
Q: What was it like recording this document within the studio? Who helped you convey your concepts to life?
A: Yea, many individuals helped me; Martin Scianm, who produced the album with me, all of the musicians that took half within the recordings, Antonio Neves, who the brass association… It was an journey. We took all of the gear to an previous studio with an enormous recording room and excessive ceilings, which was precisely what I needed. We took per week to complete the monitoring. Then, extra conferences with Martin to document the voices and overdubs, after which it went to the blending and mastering course of. I took half in some mixing course of, which I preferred quite a bit, and I really feel it’s one thing I’d wish to carry on doing in my future works.
Q: Do you may have a favourite tune of the document?
A: I like my guitar on Tem Certeza?. I really feel it embodies the style through which I play. And likewise Chocolate, I like the liberty I had in recording that one, concerning my voice and the entire musical conception.
Q: The document opens on the tune Saudade, given the which means of the phrase as “a sense of longing, melancholy, or nostalgia, being each glad and unhappy on the similar time”, do you see this as a mission assertion for the document?
A: Individuals in Brazil used to say that “saudade” is a phrase that solely exists in Portuguese. Actually, the selection of this tune to start the album is a vital resolution, as the entire album speaks about problems with a “little electrical hen coronary heart,” which is mine, and its total environment is about evoking nostalgic sensations and emotions, sort of a déja vù.
Q: In Saudade, your verse roughly interprets to “Possibly I’m not afraid of the thunders”, what do you imply by this lyric?
A: Possibly I might translate it as “Possibly I’m not SO afraid of the thunders”. This “so”, I feel it’s vital as a result of it signifies that, even when we’re afraid, we’re not paralyzed, we will take care of that. It means not being afraid of affection, of our deep emotions, our inner thunderbolts, being alone…
Q: Are you able to inform me extra concerning the lyrical themes on the tune Promessas a Previsões and Chocolate? These are two of my favorites of the document, and I observed that they had been addressing related themes.
A: Promessas e Previsões, is the one tune on the album I didn’t write (Tem Certeza? I wrote in collaboration with Bruno Schiavo). I lived in São Paulo for a number of months in 2018, and whereas doing so I met Chico França, the tune’s composer. When he confirmed me that tune I used to be astonished. I assumed, “I actually need to document this.” Chocolate is an older tune, which I had already recorded as a stay model on the 2016 assortment “Xepa/Nata” (obtainable on the principle streaming platforms). On “LECH,” I used to be going via a few of my older songs and determined Chocolate was one of many ones I needed to totally notice on this album. The similarity between each variations is their lyrics. I converse of peculiar stuff, scenes, and objects, however I sing about them as if they’re one thing surreal or implausible.
Q: I discovered the lyrics to a different certainly one of my favorites Torturadores very attention-grabbing because it appears to deal with the dictatorship in Brazil, what impressed you to put in writing a tune like this and why did you find yourself juxtaposing it on a extra upbeat instrumental?
A: Torturadores means torturers. It was impressed by the story of a Brazilian lady who was tortured by an official through the civilian-military dictatorship in Brazil. Since then, she had gone right into a deep despair. Issues like this occur right here due to the militaries who tortured and murdered folks through the dictatorship and had been by no means judged or condemned, as they had been in lots of different nations equivalent to South America. One other factor that impressed that tune was the Escrache, which is an illustration through which a bunch of activists go to the properties or workplaces of these whom they need to condemn, specifically ex-torturers and dictatorship collaborators, to affect decision-makers and governments right into a sure plan of action. It evokes me as I say within the refrain: “looking / torturer’s names and addresses / solely to inform / the grandchildren and doormen / who do have the appropriate to understanding”.
Q: Any plans to tour in America as soon as this pandemic is over?
A: It’s on my “to-do checklist.” My plan is to launch “Little Electrical Hen Coronary heart” there on vinyl after which go on a tour. We’re in search of the appropriate companions to make it occur.
Q: Any plans for what’s subsequent by way of a follow-up?
A: For this yr, a brand new compact, re-recording some tracks from “Mormaço Queima,” performed by LECH’s band. I may even launch a single on which I play the piano, and I plan to launch a brand new album in 2022.
Q: It is a very bizarre time we live in. How are you coping with your isolation and is it affecting your writing?
A: I’m with my household at our nation home. My mother is combating most cancers, so we’re taking good care of her. I’m probably not concentrating on writing or composing proper now. I’ve no need to sing or to return residence proper now.
Q: What’s a Little Electrical Hen Coronary heart, anyway?
A: I used to joke that it was a barbecue at an vintage store. However actually, it’s about loving many individuals, the small emotions which might be fairly large. I used to cite a poem from the Russian poet Vladimir Mayakovsky which inserts very properly. Its identify is Spine-Flute:
For all of you,
Whom I beloved or a love,
Hidden like icons within the cave of the soul,
Like a goblet of wine at a festive gathering,
I shall increase my heavy, verse-brimming cranium.
An increasing number of typically, I’m wondering-
Why shouldn’t I place
The interval of a bullet on the finish of my stanza?
As we speak,
Simply in case,
I’m giving my closing, farewell live performance.
Collect into the mind’s auditorium
The bottomless strains of those that are pricey to me.
From eye to eye, pour mirth into all of them.
Gentle up the night time with the by-gone festivity.
From physique to physique, pour the joyous temper.
Let no man overlook this night time.
Hearken to me, I’ll play the flute
On my spine tonight.
Ana Frango Elétrico’s new album “Little Electrical Hen Coronary heart” is out now on all streaming platforms.