Os Mutantes

Os Mutantes

  • MOG Editorial Review

    Editors_picks_badge
    Few acts in Brazil embodied the psychedelic elements of the tropicalia movement better than Os Mutantes, a fact they made known immediately on their self-titled debut. The opening number especially makes their intentions known, sounding like an innocent piece of Latin pop before abruptly switching gears into strange rock 'n' roll territory, and it doesn't let up during the rest of the album. "Baby" is chock full of groovy organs, yelps, and some of the most jarring guitar riffs you'll find on any psych-rock album, and the schizophrenic pop of "O Relogio" is proof that they could craft a proper melody but were more interested in pushing the envelope. They were only seen as influential in retrospect, but once you take a listen to the songs here, you'll agree that Os Mutantes embodied rock's counter-culture as well as any of their competition in the states ever did.
  • AMG Review of Os Mutantes [Universal]

    Amg
    Philip Jandovský
    All Music Guide

    Few albums have had such a massive impact on the popular music scene of Brazil as the self-titled debut album of Os Mutantes. Serie Estreia is a 2002 reissue of this landmark recording that, together with two other 1968 albums by Caetano Veloso and Gilberto Gil, marked the start of the highly controversial and amazingly creative Tropicalismo movement, which would forever change the musical landscape of Brazil. Seemingly effortlessly, Os Mutantes blend and fuse musical elements of the Beatles, Brazilian folk music, Veloso,Françoise Hardy, and psychedelic sound effects, and then top it all off with their own unique and unmistakable charm and style. The album starts off with the sonic extravaganza of Gil and Veloso's "Panis et Circenses," with its instant melody and suggestive lyrics. "O Relógio" was Os Mutantes' first single, and the smooth, fragile voice of a very young Rita Lee and the unusual sound effects of the song give it a beautiful, somewhat dreamy atmosphere. A slight psychedelic touch is given to Veloso's Tropicalismo classic, "Baby." On "Adeus Maria Fulô," Os Mutantes slip for a moment into the sound and rhythm of Brazil's northeast region. There are also great versions of Jorge Ben's "A Minha Menina" and Jean Renard's "Le Premier Bonheur du Jour," before the album's finale with the psychedelic rock of "Ave. Genghis Khan." One of the most striking features of this album is the way Os Mutantes use such an enormous variety of musical styles and moods, and somehow still manage to make it all sound like a natural unity. This would soon prove to be one of the most important characteristics of Os Mutantes. Another characteristic of the group is, of course, its enormous inventiveness and vanguard sound, still sounding modern at the time of this reissue's release. This is a great album by any standards, and it becomes even more impressive when you consider that it is Os Mutantes' debut. As listeners know today, Os Mutantes would soon follow this one up with more brilliant album efforts, Mutantes and Divina Comédia.

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