Music: the art of expressing ideas through sounds. Definitely the primary memorandum of the young music producer Pedro Canoeiro, currently based on Sao Paulo but hailing from Brazilian savann. Following the generations, the need for communication between peoples made music a vital mark of identification of each community and its culture, which is definitely supported by Pedro’s work. Filled up with a solid Brazilian musical reference since childhood, this young artist quickly reached the hip hop movement, opening his eyes to the synthesized music. It didn’t take long to start sampling, then, when he discovered affordable programs for music production – the DAWs – enthusiastically started a branding new phase.
Composed the musical theme of a well-known important film festival in Goiânia at the age of 15, his first film soundtrack came out when he was 17. Dealing with music in works such as theater, dance shows, electronic games and music of television programs and later graduating in Design focused on Sound Design, he has been maturing his project with effort, patience and passion. Songwriting with an electroacoustic music research, Pedro carries an inexplicable need to express himself. In order to stimulate a regret to our roots, our land, our ancestors, our culture, and liberate ourselves from postcolonialism, his productions mostly honor the natives and quilombolas, a tribute to the Brazilian folk rhythms, certainly protesting without pain, but rather offering art as a tool of elevation, projecting us to utopian scenarios that alleviate material life’s weight, as a socializing and expanding element.
Well, we just said the keynote of his extended play ‘Trópicos Utópicos’ (Utopian Tropics). An EP travelling down a spiritual path, carrying with itself a fragment of life that brings overtones of culture. Through lands without evils, where diversity is respected, native customs of earth worship are preserved and fraternity is cultivated, Pedro Canoeiro delivers three original tracks counted on two warmhearted features. Together with the musician Jeferson Leite and his fiddle, the opening track ‘Pajelança’ is representing the popular culture of the Brazilian Northeast mixed within a ritualistic indigenous timed theme possibly accepted by those who are looking for unconventional beats. From Buenos Aires, Morita Vargas and his psychedelic vocal affectively transpire love throughout the second track ‘Rosa Del Desierto’, whether you can understand the lyrics or not, the effect of the intonations is glorious. Exploring a solo approach on third track ‘Mãe dos Conchais’, Pedro reconnected with underestimated local cultures, fusing more experimental rhythms, little pockets of delight.
In essence, the creative process included the recording of organic instruments, rainforest sounds, synthesizers, symbols of significance and indigenous samples passing through Brazilian popular culture. Resounds as an unusual dance, unloading those cultural and social riches that music provides for individuals. This EP is a thought-provoking identification and recognition over indigenous visibility and Latin American resistance, after all music has been following the generations and its importance is undeniable, don't let your conscience bind you.