Customer Reviews

Fabrication Defect

5 star:		(8)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Tom Ze's mission statement in the liner notes, that the day of the composer is past and the music of the future will be built on cannibalization of existing styles and samples of other works, seems stale in the context of North American music, where the hip hop revolution of the late 1970s has infiltrated nearly every genre of recorded music. But the consequences of this statement in terms of the Third World, Brazil in particular, are more powerful, and Ze spells them out in the notes and in his inspired songs: for those people on the bottom of the social hierarchy (an unfortunate majority in the Third World and a growing number in the U.S.) this type of "dragnet" in music composition is a way of life and a means of survival. It echoes the theories of ethnomusicologists studying African music and music of the African diaspora - inspired creators, no matter how poor, can always create something from essentially nothing, or in this case, from refuse. The refuse Ze uses on this album reveals its own richness in juxtaposition. Hip-hop drum programs, forro accordions, techno beats, smooth bossa nova, Renaissance music, musique concrete, funk, and other disparate styles are brought together by Ze's lyrics in a way very few other "world music" artists are capable of. Where most other artists in this genre use different styles as mere flavoring (and, more cynically, for hit potential) Tom Ze has pointed reasons for their use in each composition, each "defect", as he calls them. The opening cut, "Gene", uses a drum program - this is a catchy way to open an album, true, but this sparse intepretation of Saint Augustine's search for the roots of sin is complemented well by the beat, as if this strong rhythm represents in musical form the behavioral predisposition of our genes; in true Brazilian fashion, Ze seems to say that we are programmed for physical action, sexual action, and our conscience must deal with this essential nature. Other examples of such apt use of musical styles abound, like the use of Tchaikovsky's Concerto in D Major as a template for "Wild Boar Youth", the over-the-top depiction of adolescent anguish put into the form of Romantic music.

While other members of the Tropicalia movement have somewhat mellowed with age, the same certainly can not be said for the amazing, anarchic Tom Ze. The music he has produced over the years is as fresh and innovative today as it has ever been. As David Byrne simply wrote in liner notes for a Ze compilation cd, "Prepared to be unsettled."

"Fabrication Defect," from 1998, is Tom's latest offering to the world. On it, Ze continues his his wonderfully radical approach to music by incorporating everything at his disposal- hip hop beats, drum machines, techno, musique concrete, Tchaikovsky. It's all there. Ze proves, as always, that he is both a musical bandit, taking what he wants, yet also a brilliant composer.

"Fabrication Defect" proves his brilliance as a composer beyond a shadow of a doubt. The music is an alluring and inviting mix of the above mentioned styles, as well as traditional bossa novas and sambas. The words he uses are at once caustic, irony filled, yet immaculately graceful, as well. Ze has an obvious insight into human nature that can't be ignored.

The lp is wonderful, and also picks up the pace as it goes along. This is simply because the songs get shorter and shorter as the cd progresses. The highlights include "Emere," which has an otherworldly quality to it, "Juventude Javali," which clearly borrows from Tchaikovsky's Violin Concerto in d Minor, and the brilliant, Dylan-esque "Xiquexique."

Overall, the album sparkles with brilliance. Ze's use of all of these influences, and the wonderful production he offers it, makes this cd an instant classic, as well as a true representative of the Tropicalia movement (even if it was released 20 years after the fact). Ze's genius has never been greater. An awesome cd of the highest calibre.

Espaço exíguo... Como escrever com profundidade em tão pouco espaço sobre um artista tão seminal como TZ? Este album é essencial, tanto pelo trabalho musical em si, com arranjos de ourivesaria, quanto pelo marco histórico de sobrevivência (com dignidade) na carreira de um artista que não se basta com a mediocridade deste mundo. Exercício de musicalidade e de originalidade, a música de TZ mostra que, neste mundo pseudoglobalizado idiotizante, há ainda espaço para genialidade e respeito em um trabalho musical 'pop'. Se vc está mesmo interessado neste imperdível album do TZ, recomendo a edição brasileira. Ela possui algumas faixas adicionais.

Tom Ze's mission statement in the liner notes, that the day of the composer is past and the music of the future will be built on cannibalization of existing styles and samples of other works, seems stale in the context of North American music, where the hip hop revolution of the late 1970s has infiltrated nearly every genre of recorded music. But the consequences of this statement in terms of the Third World, Brazil in particular, are more powerful, and Ze spells them out in the notes and in (an unfortunate majority in the Third World and a growing number in the U.S.) this type of "dragnet" in music composition is a way of life and a means of survival. It echoes the theories of ethnomusicologists studying African music and music of the African diaspora - inspired creators, no matter how poor, can always create something from essentially nothing, or in this case, from refuse. The refuse Ze uses on this album reveals its own richness in juxtaposition. Hip-hop drum programs, forro accordions, techno beats, smooth bossa nova, Renaissance music, musique concrete, funk, and other disparate styles are brought together by Ze's lyrics in a way very few other "world music" artists are capable of. Where most other artists in this genre use different styles as mere flavoring (and, more cynically, for hit potential) Tom Ze has pointed reasons for their use in each composition, each "defect", as he calls them. The opening cut, "Gene", uses a drum program - this is a catchy way to open an album, true, but this sparse intepretation of Saint Augustine's search for the roots of sin is complemented well by the beat, as if this strong rhythm represents in musical form the behavioral predisposition of our genes; in true Brazilian fashion, Ze seems to say that we are programmed for physical action, sexual action, and our conscience must deal with this essential nature. Other examples of such apt use of musical styles abound, like the use of Tchaikovsky's Concerto in D Major as a template for "Wild Boar Youth", the over-the-top depiction of adolescent anguish put into the form of Romantic music.

Espaço exíguo... Como escrever com profundidade em tão pouco espaço sobre um artista tão seminal como TZ? Este album é essencial, tanto pelo trabalho musical em si, com arranjos de ourivesaria, quanto pelo marco histórico de sobrevivência (com dignidade) na carreira de um artista que não se basta com a mediocridade deste mundo. Exercício de musicalidade e de originalidade, a música de TZ mostra que, neste mundo pseudoglobalizado idiotizante, há ainda espaço para genialidade e respeito em um trabalho musical 'pop'. Se vc está mesmo interessado neste imperdível album do TZ, recomendo a edição brasileira. Ela possui algumas faixas adicionais.

If you want to witness a revolution in music listen to it. Tom Ze is a genius that cannot be ignored. He sounds astonishing!

The first time I listened to this I thought the sounds unique and creative. Upon further listening I kept thinking I heard parts of some of the songs already. Finally I realized that Tom Ze was mixing his lyrics with plays on words and snatches of popular Brazilian music styles songs (OK I am slow).

Very playful CD that is fun to listen to especially if you know the musical or other references thet Tom Ze uses. I don't know them all but I knew enough to really enjoy listening to this CD. Some of my favorites are "Dancar" which Gilberto Gil fans will enjoy, Tangolomango which I thought was hilarious, and Xiqueque which Nordestino fans will enjoy.

Tom Ze is something else man. I can't put to words what this guy has done since I started listening to him. I'll save you some time reading an article explaining why you should buy this and I'll sum it up: Buy this album. Now. Thank you.

After watching a movie at the San Francisco Film Festivel several years back about Tom Ze, I was tempted to buy this and other CD's - phenomenal.

There really isn't enough space above to write any sort of one line overview on this cd. Or any other cd I suppose. But you people who buy cd's from amazon, well, i don't think you care. Get out of your house and go to a local indie music store (they still exist, but thanks to the above mentioned, maybe not much longer...) and buy the new Tom Ze album. Much worth your money if you like pop music (especially brazilian pop) with a brilliant twist.