Gui Boratto – Abaporu (Kompakt)

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You’d probably be able to guess that electronic producer Gui Boratto is Brazilian without even reading his biography. Ever since his debut in 2007, he has been able to make exotic, lush dance music that is mesmerising and celebratory, with a techno-tinged carnival atmosphere. What he presents on his fourth studio album Abaporu, again for Kompakt, is no different.

After the tense and compositionally complex intro of ‘Antropofagia’, he follows up with the album’ three most straightforward techno party jams. The bright and beatific “Joker’, with its dramatic piano bass line, is his most direct club banger here. “Please Don’t Take Me Home’, with its slinky guitar groove and swirling synths, acts as a sassy kiss-off, as well as possessing a schmaltzy earnestness – it’s the track that most captures the Gui Boratto experience.

The Balearic “Get the Party Started’ is a similarly blissful, sugar-coated track with a tasteful guitar lick and synths. But thankfully Boratto knows exactly how far he can take this sound before it becomes too much; indeed, these are hedonistic pop pleasures you don’t have to feel too guilty about enjoying.

Boratto is a master of pacing however, and what follows is a welcoming variation to the bright and joyous sound. The title track begins with a harsh, almost industrial intro, before settling in to be a chugging, moody groover. “22′, the longest track on the album, is a similarly brooding, minimal track that has hints of haunting and introspective R&B.

The Goldfrapp-esque ‘Take Control’ is the closest Boratto gets to a straight pop song, with a lackadaisical lead vocal that lets the flourishing synths, chorused guitar and piano bass be the focal points. The similarly disco-tinged pop found on “Wait for Me’ and “Too Late’ are some of the album’ highlights. The former has a punk edge not found in dance since LCD Soundsystem, and the latter possesses a nocturnal, laid-back vibe with a hypnotic bridge. These songs in particular show off Boratto’ surprisingly strong songwriting chops.

At around 70 minutes, Boratto has perhaps been more generous than he needs to be with Abaporu, What’s more, the guest vocals – while sometimes charmingly blasé – aren’t always as engaging as they could be. But what the album lacks in lyrical finesse and musical innovation, it makes up for with sheer positivity and an uncomplicated lack of pretension. While the record doesn’ push too many boundaries, it’s great, feel-good, body-moving music that deserves repeat listens over the coming warmer months.

Wyatt Lawton-Masi

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