The emergence of ‘Slacker’ marks a definitive, transcontinental triumph for Oruã, a collective that has successfully rebranded the street savvy of downtown Rio de Janeiro into a global avant-garde currency. If their previous efforts established them as purveyors of “poor man’s jazz,” this new collection, recorded in Seattle under the stewardship of Jim Roth, elevates their linear post-punk to a state of ecstatic, deconstructed brilliance. The album functions as a fever dream of cultural exchange, where the rhythmic ghosts of Pernambuco collide with the jagged, indie-rock architecture of the Pacific Northwest. It is an articulate defense of art as Brazil’s most vital export, a record that breathes through the tension between lo-fi spontaneity and sophisticated psych-rock experimentation.
This sense of malandro spirit, (a quintessentially Rio brand of clever, street-smart improvisation), informs the band’s entire approach to song structure. Rather than adhering to rigid patterns, the journey begins with “Deus Dará,” a track that immediately showcases the band’s ability to weave collective trances by allowing the rhythm to dictate the form. Lê Almeida’s guitar work is both skeletal and searing, providing a foundation for Gabriela Motta’s guest vocals to drift above a mesmerizing groove. This sense of expansion reaches a peak during the ambitious “México Suite,” where the inclusion of Alexander Zhemchuzhnikov’s saxophone adds a free-jazz volatility to the mix.
The core unit of João Casaes on synths, Bigú Medine on bass and xylophone, and Phill Fernandes on drums, operate with a telepathic fluidity honed through years of international touring. Their synergy is palpable on “De se Envolver,” featuring Caxtrinho, where the Afrobeat influences are stripped to their rhythmic essence and rebuilt with an indie-rock skeleton. The record’s distinct noise-rock edge was further sharpened by the Seattle-based recording process at Ft. Lawton. Jim Roth’s contribution on guitar and synths provided a crystalline, North American distortion that contrasts beautifully with the warm, sun-soaked overdubs recorded later in Brazil.
As the album progresses through “Cachoeira,” with Ana Zumpano, and the sprawling “Slave of The Golden Teeth,” the production highlights the unique collaborative spirit of the group. The latter features Fernando Almeida and finds Casaes and Medine trading synth duties to create a dense, electronic fog. Throughout these recordings, Roth’s additional percussion acts as a bridge between Oruã’s Brazilian roots and the 90s-inspired dissonance they explored during their tenure with Built to Spill. This duality is perhaps most evident on “Casual” and “Inaiê,” where the kalimba work of ÄmarcéL introduces a primal, percussive texture that contrasts sharply with the electric pulses of the band’s distorted guitars.
The record’s final act dives deeper into the ethereal. “Marejar” features a haunting combination of Melanie Radford’s backing vocals and Grisa’s theremin, creating an underwater atmosphere that feels both alien and strangely comforting. This leads into the understated beauty of “Soft” and the closing rhythmic workout of “Banguela.” By the time the final notes dissipate, ‘Slacker’ reveals itself to be anything but lazy; it is a meticulously crafted document of a band at the height of their powers. Oruã has managed to capture the heat of a Rio dawn and the cool mist of a Seattle winter in a single, continuous entity; a song cycle that proves the best art isn’t found in polish, but in the honest, chaotic vibration of the human experience. Easily one of 2025’s finest.
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