worsareviews

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I’m hesitant to learn new things and this CD is one of those things that do not go blank because they are bizarre and unex-pected, and was sent by Worsa, from Lago Norte!

Mini biography critic: receiving and re-viewing only listen to 30 seconds and says he knows the whole history of the band.

My God! what happened to rock’n’roll? Do these new bands never imagined the ordeal of Hendrix brandished his guitar in flames over his head every night? The roars of sore throat of Robert Plant and drugs! My children, the regimented ban-quet speed and a silver tray into the night and the Californian wine; the novels of ... Truman Capote; matters of ... Hunter S. Thompson, the black limousines Stones; the big theaters.

When I started my career as a star of rock ‘n’ roll just thought of it ... Then get real and came to me via mailman hands stran-gely this CD called “Morsa” that should be around for mashing words and phrases.

This trio called Worsa embarked by de-fragmenting word and audio. How to quit do not prepare a new job with new bassist and not expect (r) evolution ...

They may have chosen a difficult path to birth; may be a novelty without followers; can be an embryo of a (r) evolution. Not classify the audio as microscopic or I allude to rock bands, where the flagship is the bass. On the new album that is near and it is not too late, I suggest a polirríti-mica jungle and layers of guitars purposes only.

Worsa: Inclassificable Worsa embarked in a defragmenting

of the word and audio.

Worsa | Reviews | 2010 05Do próprio bolso | LINKJournalist: Mário Pacheco

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8 unusual tracks: Bumbo mjölnir - Acisúm - A fuga do Fedolim - Cartas aos Filipenses - Cetáceo Mamo Gordo - Pegue direito e Riff da neurose II

the boom: pop art, which launched concepts such as mini-malism, conceptualism and the neoexpressionis-mo. Preceded and influenced by experimental music and Concrete Poetry, Fluxus eventually le-ading to conceptual art and minimalism. Concretism?

Against the Chorus

Worsa | Reviews | 2013 04Meia Um | LINKJournalist: André Cunha

The brasiliense Worsa band launches the album experimental and discontinuous Omoioi and talks about the auspicious of the Contemporary Music market

If you are those who like pop rock with two verses, cho-rus, two verses and chorus again repeated exhaustive-ly, then move away from the new disc of Worsa band. The brasiliense trio, featuring Feleps on guitar, Bruno Rocha on drums and bass Wolve Rodrigues, is launching Omoioi, “a song of thirty-three minutes, thirty-three acts.” Now, if those who enjoy psychedelic instrumental music, do not hesitate: know the sound guys.

“At times the music you will have the impression of hea-ring Hermeto Pascoal playing Ramones,” they say about Omoioi. The influences range from Frank Zappa to Jhon Zorn, passing by the sound of Nana Vasconcelos, Silvia Saint, Arrigo Barnabé, Fantômas, Rush and Björk. The band, which is ten years down the road, launched in 2005 Morsa disk, which has bet on an unconventio-nal type of music underpinned largely on the strength of the power trio - drums, bass and guitar. But it was with Omoioi that led to the ultimate consequences of making the project a radically discontinuous sound.

The band says Omoioi “has structure like the millions of riffs that Feleps accumulated since 1997”. The Wor-sa honed this material reversing movements, creating bridges and other layers, until they realize that “we were getting a monster that must be tamed by the me-tronome. We appeal to the magic of Marcus Dale, who was one of the music producers and assisted in trans-cribing the entire line of digital sheet music for guitar. With this material we generated the dream ticking, which, besides facilitating the lives of Bruno, enabled a communication tool between Feleps and real musicians who were invited: Natasha Salles (soprano), Adil Silva (trombone) Carlos and Tort (marimba / glockenspiel). “

The thirty-three acts of Omoioi are inspired by histori-cal figures such as Plato, Suassuna, Wittgeinstein, Gar-rincha, Seinfeld, Patton, Huxley, Presley, Juruna, Scorce-se, Ramanujan, Osterberg, Escher and dozens of others. At shows, they often play with masks of iconic figures from contemporary culture as pop star Justin Bieber. And keep an eye on: the band promises even in the first half of 2013 show a sneak release of the album, with the participation of legendary quintet candango Satani-que Samba Trio.

was with Omoioi album that led to the ultimate

consequences of making the project a radically disconti-

nuous sound.All members of Worsa have “normal” jobs and rehear-se weekly to hone the Omoioi kaleidoscopic, so make a point of stressing the importance of university edu-cation in the careers of young musicians who dream to make it big: “We just have to thank the current MPB and the axé, which have contributed to the promotion of our cheerful picture out there, and also the current national rock - pretty neat, colorful and well behaved. Yet we must not fail to mention the wonderful subgenre root our music: the university backcountry. This lives up to its name “

They conclude, without a hint of irony: “We think the Brazilian pop music is at its best. Plenty of performance, professionalism and above all form and content. It is a phase in which the individual who actually likes music rejoices to turn on the radio and listen to inspirational songs that mimetic running ingenious delirium of love songs and a lot of peace, synchronized claustrophobi-cally in 97% of the frequencies, channels and sites in an insane loop. We were happy with industry speciali-zation in treating the music as a medium since art does not end as views on Youtube. “

Just in case, Omoioi is already on Youtube, until now lit-tle more than three hundred views. But Ai se eu te pego from the iconoclastic Michel Telo, is hitting the five hun-dred million. Hi?

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www.atrator.com/worsa

Worsa | Reviews | 2013 07Na mira do Groove | LINKJournalist: Tiago Ferreira

Fragmentation requires control - espe-cially in music, where the fluidity directly inflicts the progress of the song. Some-thing similar happens when we talk about defragmentation. That’s because it wants to avoid further anarchic content. It can not avoid abrupt interruptions until the idea reaches its ‘end’ - justifying further than this ... control.

The Worsa works with it, and very well. Forming a fuzzy rock that draws on several sources ranging from construction to Nana Vasconcelos free-way-of-mind that mas-terfully Massacre instituted in the 1980s.

The trio of Brasilia can indeed be prece-ded by a ‘power’. Not quite the virtuoso, who sometimes refer to the hassle of na-mes that need no longer drop to the seven winds; but by self-control, which gives an even more libertarian escapism to their instrumental tone.

Worsa elevates the capability of the rock getting

rid of any ties.

The latter album, in addition to members, counts with the participation of Natasha Sal-les (soprano vocals), Adil Silva (trombone), Marcus Dale (piano) and Carlos Tort (marim-ba / glockenspiel).

Whatever is on the menu enters trial: ope-ratic vocal interjections of the crooked riffs and punchy batteries, Worsa raises the po-tential of rock ridding himself of any ties.

33 tracks are virtually no title - they are se-parated by “Acts”. All of them have less than two minutes, tossing and playing with diffe-rent ideas of freedom from gender) in a for-mat that really appeals to fans of incendiary Torture Garden (1989), the Naked City.

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Worsa works with

control, and very well.

The band was formed in Brasília in 2003 and until now has two jobs: the Morsa, 2005, which says replete with influences ranging from game trails to the ideas of anarchist philosopher Mikhail Bakunin; and the latest album released at the very end of 2012, Omoioi that, despite having a name that reminds staff that ridiculous novel of 9 TV Globo, the bitterness takes the idea piqued.

Honorable mentions

We had to include at least one band from a non-English-speaking part of the world, because it’s not like we’re racist or anything.

So let’s throw Worsa into the mix. They’re a trio from Brazil and their bio describes their music as “experimentalism without intricacy,” although their stuff sounds pretty intricate to us, especially the parts that throw in an opera soprano because, you know, if there’s one thing that’s not intricate, it’s opera.

Influences include Koenjihyakkei, Fanto-mas and Hella, so you know you’re gonna be in for a wild ride.

Trio formed in Brasilia in 2003, this is the second album released by Worsa full band. A mixture of influences that results in a pretty crazy over facing n roll rock expe-rimentalism ...

2014 05Weirdest band in the world | LINK

2013 04Hominis Canidae | LINK

Honorable mentions

After almost 8,000 votes tallied, the se-cond digital urn Hunting Bands, pointing to Worsa band as the winning of the vote. The opinion of the judges, will be known this evening [18 | 05], in the third round of May.

Brasília confirms once as an ex-porter of psychedelic music co-pyright. Along the excellent Worsa and Passo Largo, the Pro-tofonia puts Brasilia on the map and it makes ugly bands close to national prestige, as the Gauchos Pata de Elefante. Janari guarante-es: “Instrumental music does not bite.”

2011 05GRV | LINK

2013 06Meia Um | LINK