Kiko Dinucci – Rastilho

A bouquet of wilting flowers, rotting vegetables

and rotten fruit, and an empty pack of pills frame
the second solo work by São Paulo musician Kiko
Dinucci. Entitled Rastilho, the album represents a
new chapter in Kiko's immense creative universe.
With the participation of Juçara Marçal, Ava
Rocha, Rodrigo Ogi and a choir formed by Juçara,
Dulce Monteiro, Maraísa, Graça Reis, the
musician absorbs the lineage of guitarists such as
Dorival Caymmi, Dino Sete Cordas, João Gilberto,
Baden Powell, Rosinha de Valença, Jorge Ben and
Gilberto Gil. All filtered through Kiko’s particular
music vision.

This album is Dinucci's reunion with the guitar.

After almost a decade experimenting with different
sounds and electronic equipment, he is back to
wood and nylon. Rastilho opens a new chapter in the
brilliant trajectory of Kiko Dinucci, with an open and
genuinely imaginative and experimental way of
performing the guitar.

For the past 20 years Kiko Dinucci has journeyed

from his punk roots in the 90s through his take on
São Paulo's samba with Bando Afromarrônico, to his electric and polyphonic deconstruction with Passo Torto; from
Metá Metá who combined elements of Brazilian music, candomblé, punk rock and free jazz, to the abstract
improvisations of albums like Abismu (2015), passing through the raw and abrasive sound of his solo album Cortes
Curtos (2017) to the soulful partnership with Juçara Marçal in Padê (2008). He is one of the most innovative and
prolific artists in the contemporary Brazilian music scene. He has worked with such artists as Tom Zé, Criolo, Elza
Soares and Jards Macalé.

Dinucci's guitar is not that of concert halls, nor does it evoke the samba and choro of the 1960s and 1970s. It smells
like the street; and the year is 2020. And, living in a country where fascist ideas and practices have become a daily reality, it
has become imperative that force and reaction emerge not only from the guitar, but also from the lyrics.

About Rastilho - by Kiko Dinucci

I’ve wanted to do an album dedicated to the guitar for a long time.
As a child, I treated it as a toy. In my early teens, with the guitar patched with pieces of sellotape, I
tried out the most varied tunings to reproduce heavy rock riffs. At the end of adolescence, in the
samba circles where someone asked for a D minor and began to sing something I had never played
in my life, I forced myself to find the cadences and breaks in the midst of my fear. The guitar came
first and always accompanied me.
My dream was to perform choro. I tied myself in knots, but, due to technical limitations, I started
looking for my own way to play. Although I really like that Brazilian guitar tradition, it was in the Afro
works of Baden Powell and in the guitars of Dorival Caymmi, João Bosco, Jorge Ben, Rosinha de
Valença and Gilberto Gil that I could see a different way of applying the instrument to the song format.
My quest with the guitar has always followed a path linked to rhythm, especially with the right hand,
which usually sweep-picks the instrument or makes the attacks. The idea has always been to play the
guitar as a percussion instrument. The samba and choro guitar, separating the bass strings from
the high strings, have helped me a lot in creating a more polyrhythmic view. Usually, when I do
something on the guitar, the bass lines and sharp counterpoints are present.
My experience in the São Paulo punk rock / hardcore scene of the 90s, in the samba and in the
religious activities at Ilê Leuiwyato, directed by the priestess Iya Sandra Medeiros Epega, somehow
shaped the way that I play guitar today.
Music also comes forth from the ground that people walk on, in people, in the dust of the paths, and
not only in the artistic world.

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Kiko Dinucci – Rastilho
Rastilho is part of the desire to find these places. The songs were basically composed over a period
of one month. Over a few days, André Magalhães and Bruno Buarque recorded and mixed everything
to tape in a completely analog process. Before putting the sound together, I showed them some
recordings from the 60’s by Sergio Ricardo, Geraldo Vandré, Edu Lobo, Pedro Sorongo and we
noticed a very interesting use of the effects of echoes, delays and reverbs. We looked for this
ambience as part of the sound of the album.
The album features Ava Rocha, Ogi and Juçara Marçal.
The wonderful Coral is formed by Dulce Monteiro, Maraísa and Graça Menezes.
The master was done by Felipe Tichauer at Red Traxx Mastering
The cover is by Pablo Saborido, a tropical, putrid, sick image that reminds us of today.
Rastilho truly is a guitar record, where the instrument overlaps everything else, the voices, the lyrics.
It is the wood that sings.
Rastilho can be the piece of bone that supports the strings on the guitar easel. Rastilho can also be
the fuse that lights the bomb.
The characters on this album lit their own fuses and exploded.

Track by track:

01 - Exu Odara (public domain) 02:42

Instrumental
Dinucci opens the album with an instrumental track. It’s a traditional song sung in Ketu candomblé houses (the largest and most
influential branch of Candomblé).

02 - Olodé (Kiko Dinucci) 02:54

Olodé is dedicated to Oxosi, the spirit associated with the hunt, forests, animals: Logunedé, Ogun, Osanyin. The track
features the vocals of Dulce Monteiro, Maraísa (Benta Maria) and Graça Reis and Juçara Marçal.

Olodé/ Odé Lonan

Odé Asiwajú

03 - Marquito (Kiko Dinucci) 04:07

Instrumental
The semi-arid sertão of the Brazilian northeast meets Ennio Morricone meets Bacurau. (the 2019 film about a town
abandoned by a corrupt government). The song is named after Marquito, the nickname of Marco Antônio Brás de
Carvalho, a mechanical designer and guerrilla, executed during the military dictatorship in 1969 by the CCC (a
paramilitary anti-communist group).

04 - Vida Mansa (José Batista/Norival Reis) 03:30

This samba composition was first recorded 65 years ago by Rio de Janeiro singer Cyro Monteiro. Here the traditional
harmonies are mixed with the aggressive strokes on the guitar strings and the vocals of Dulce Monteiro, Maraisa
(Benta Maria), Gracinha Menezes and Juçara Marçal.

O que eu queria meu amor me dava Whatever I wanted, my love gave to me

Que vida mansa sorrindo eu levava
Meu amor brigou, vida mansa acabada
Procurei pé-de-briga
Meu amor aceitou
Me dei mal na jogada, olha a lama que eu tô
What an easy life, I used to smile
My love fought with me, the good life came to an end
I looked for a fight
My love retaliated
It ended badly for me, look at the mess I'm in

05 - Foi Batendo o Pé Na Terra (Kiko Dinucci) 03:18

With the same quartet on vocals, this is a samba written by Kiko some twenty years ago. It evokes the rural samba
made in the interior of São Paulo, but with roots in Bahia. You can imagine it on an album by Dona Ivone Lara, Aniceto
do Império or Clementina de Jesus.

Foi batendo o pé na terra It was by tapping her foot on the ground

Que vovó me ensinou a samba That grandma taught me samba

Que vovó me ensinou a samba That grandma taught me samba

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Kiko Dinucci – Rastilho
Que vovó me ensinou a samba That grandma taught me samba
Que vovó me ensinou a samba That grandma taught me samba
Que vovó me ensinou a samba That grandma taught me samba

06 - Febre do Rato (Kiko Dinucci) 03:34

Perhaps it is the most urban samba on the album. The song was composed getting off a crowded bus on Celso
Garcia Avenue, just beside the shops around the Temple of Solomon (the replica of Solomon's Temple, built by the
Universal Church of the Kingdom of God in São Paulo). Febre do Rato (Rat Fever) is a popular expression typical of the
city of Recife that designates someone when out of control.

Tava com a febre do rato He had a rat fever

E pediu pra descer And asked to disembark
Da linha Pq. Dom Pedro/ Vila Curuça From the Dom Pedro Park/Vila Curuça line
Cambaleou sem saber He staggered without knowing
Onde queria chegar Where he wanted to go
Em plena Celso Garcia vomitou He threw up at Celso Garcia

Queima de estoque A clearance sale

O falante veio lhe dizer Was announced on the speakers
Um pandemônio A pandemonium
Na liquidação total Selling everything
Foi levado sem saber He was swept away without knowing
Onde iria chegar Where he would end up
E a correnteza de gente lhe arrastou And the river of people dragged him along

Foi lançado He was released

Empurrado Pushed
No tranco In stride
Arremessado Thrown
Quando deu por si When he found himself
Tava em frente um salão In front of a hall
Uma dor de cabeça A headache
Rasgou o seu juízo Tore away at his wits
E por cima do quengo And over his head
Um estranho pôs a mão A stranger put his hand

Um arrepio na espinha A shiver went down his spine

Seu corpo tremeu His body shook
E uma mancha vermelha And a red spot
Na face brotou Sprouted on his face
Ardeu no corpo febril Burned through his feverish body
Mas o suor congelou But the sweat froze
Roubou a cena do culto na sessão As he stole the scene of the cult in session

Soltou um grito de morte He let out a death cry

O mundo calou The world went silent
Duas feridas nasceram nas palmas das mãos Two wounds appeared on the palms of his hands
Um fiel esconjurou One believer hid
Um outro perdeu a fé Another lost faith
Mas um terceiro chorou de compaixão But a third one wept with compassion

Tava cheio de cólera e bestialidade He was full of anger and bestiality

Quando deu por si tava em cima do pastor When he realized he was on top of the pastor
Atacou o infeliz He attacked the victim
E fugiu pela avenida And fled down the avenue
Deu sinal e saltou pra dentro do busão He waved down a bus and jumped on board

Parque Dom Pedro/Curuça Dom Pedro Park/Curuça

Febre do Rato Rat Fever
Solidão Solitude
Febre do Rato Rat Fever
Contra mão Going the wrong way

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Kiko Dinucci – Rastilho
Parque Dom Pedro/Curuça Dom Pedro Park/Curuça

07 - Dadá (featuring Ava Rocha) (Kiko Dinucci) 02:19

Instrumental
Another western vibe, this time named after the cangaceira Sérgia Ribeiro da Silva, better known as Dadá, the only
woman to take up arms on the side of Lampião. The cangaceiras were bandits from the Northeast of Brazil in the
late 19th and early 20th centuries, the most famous being Virgulino Ferreira da Silva, aka "Lampião" ("Oil Lamp",
because he could shoot so quickly that he could illuminate the place). A mixture of hero and bandit, Lampião became
one of the most representative icons of Brazil. Kiko invited Ava Rocha, daughter of film-maker Glauber Rocha (1939 –
1981) to choose any song on the album and she selected this track, recorded in one take. Dadá is also one of the
characters in Glauber Rocha's film Black God, White Devil (Deus e o Diabo na Terra do Sol).

08 – Veneno (featuring OGI) (Kiko Dinucci/OGI) 03:29

In the fight of God against the devil in the land of Brazil, the São Paulo rapper OGI joins Juçara Marçal in this afro-samba
punk. Ever since Kiko heard the album Crônicas da Cidade Cinza /Chronicles of the Gray City, he was impressed by
Ogi’s way of working with samba melodies within rap, in addition to being a great lyricist. So he invited Ogi to add lyrics
to a guitar line and some melodies.

Tenebroso Dark
Era assim o tal João That was how a certain João
Ficou tão famoso Got so famous
Por que dava surra em multidão By beating up the crowd
Espalhafatoso Pedantic
Caminhando esbarrou em um rapaz He bumped into a young guy
Jogo perigoso A dangerous game
Pois a morte nunca anda com cartaz For death never advertises itself

E o joão valentão tomou satisfação And the bully wanted revenge

E lhe disse onde já se viu?
E levantou a camisa e mostrou um oitão
E pagou de policia civil
Estava prestes a estapear o rapaz
Quando alguém feito um relâmpago
Veio pra apaziguar e assim lhe falou
And said, did you see the likes of this?
And pulled up his shirt and showed his pistol
And acted like someone from the civil police
He was about to slap the kid
When someone, just like lightning
Came to cool things down, and said

Toma cuidado, jão Take care, now

Deixa isso pra la Don’t mess with this
Não vai pra grupo não Don’t go to the group
Fica ligeiro Stay loose
Nesse vespeiro In this hornet’s nest
Melhor não por a mão Better not get involved
Com isso não va mexer Don’t do anything here
Não tem por que se meter There's no need to meddle
Por que sei que vai da nó This will get complicated
Vai da não It’s not on
Vai danar It’ll end badly
Vai doer It will hurt

O rapaz é o belzebu The kid is Beelzebub

E o seu sangue vai beber
Feito vinho e fumando um
Com o chicote te lamber
E o dragão fala pro filho de Ogum
Nem seu pai vai me deter
Eu vou te mandar pra catacumba
Só quizumba
Feito zabumba
Coração Bomba
Com a perna Bamba
João tomba!
Só que ele não cai
And he’ll drink your blood
Like wine while smoking
With the whip he’ll lick you
And the dragon speaks to Ogum's son
Not even your father will stop me
I'll send you to the catacombs
A wild party
Echoing the zabumba
A heart bomb
With his dodgy leg
João falls!
Only he doesn't fall

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Kiko Dinucci – Rastilho
Pois se apoia no balcão pedindo ao pai Because he leans on the counter asking his father
E agora sente que sua vida se esvai And now you feel your life is fading away

Feio na foto está As ugly as the photo

E eu posso atestar And I can tell you
O inferno é seu Spa Hell is your Spa
E estas férias And these holidays
Não são etéreas não tem como escapar They are not otherworldly, there is no escape
E assim no solo bateu And so he hit the ground
E a vida toda escorreu And his whole life slipped away
No copo do cão caiu Into the devil’s cup he fell
E ele viu And he saw
E ele riu And he laughed
E bebeu And drank

Mas de repente deu um piripaque But suddenly he had a nervous attack

E o cão não aguentou a birita
É muito forte o veneno do homem
Que até o capeta vomita
Foi mais um caso daquele que quando alguém conta
Ninguém acredita
E como um passe de mágica
Na minha frente João ressuscita
And the devil couldn't take the booze
Man's poison is so strong
That even the devil vomits
It was a case of someone telling a tale
And nobody believing
And as if by magic
In front of me João resurrects

E o cramulhão And the demon

Caiu no chão se escondendo da luz
Sem condição de reação
Se esvaindo um pus
Se esvaindo em pus
Ele falou para o pai de jesus
Eu não teria clemencia
Se tivessem posto meu filho na cruz
Fell to the ground hiding from the light
With no way of reacting
Draining a pus
Draining in pus
He spoke to the father of Jesus
I wouldn't have mercy
If they had put my son on the cross

09 - Tambú e Candongueiro (Kiko Dinucci) 01:43

The only re-recording on the album, this is a Jongo originally recorded by Kiko’s old band, AfroMacarrónico on the album
Pastiche Nagô (2008). It was the Bantu slaves who introduced the Jongo rhythm to Brazil, performed with two types
of drums, Tambú and Candongueiro. Ngoma are musical instruments used by certain Bantu populations of Africa.
Curimba is the name given to the group of people who relate to musical practices within Umbanda rituals.

Água-de-briga na pele da ngoma Cachaça in the skin of the ngoma

Acende o fogo pro couro amaciar Light the fire to soften the leather
Na curimba meu tambú In curimba my tambú
Na curimba candongueiro In curimba candongueiro

10 – Gaba (featuring Juçara Marçal) (Kiko Dinucci) 01:52

Instrumental
The album's third instrumental western was inspired by Zacimba Gaba, an Angolan princess who was enslaved in 17th century
Brazil. Zacimba led a rebellion and founded a quilombo in the north of Espírito Santo. Juçara Marçal improvised some backing
vocals.

11 - Rastilho (Kiko Dinucci) 03:08

An apocalyptic samba. A tropical, putrid, sick image, which evokes the album cover made by Pablo Saborido. In
Portuguese, Rastilho can be the piece of bone that supports the strings on the guitar easel. It’s also the fuse to set off
a bomb. The characters on this album lit their own fuses and everything exploded.

Queima Burn
Deixa arder Let it burn
Virar cinza Turn gray
Fumaça Smoke
A praça derreteu The square melted
A noite não findou The night did not end

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Kiko Dinucci – Rastilho
O temporal mal começou The storm has barely started
Deixa o sol nascer Let the sun rise
Quando ele quiser When it wants
A lava escorrer até o último sinal de vida Let the lava drip down to the last sign of life
Abraçado à morte sem saber Embracing death without knowing
O moribundos dançam The dying dance
As moscas já nos cobrem Flies already cover us
Ninguém pode parar Nobody can stop
Nem fé, amor ou sorte Neither faith, love or luck
Vamos explodir Let's explode

01 - Exu Odara (public domain) 02:42

02 - Olodé (Kiko Dinucci) 02:54
03 - Marquito (Kiko Dinucci) 04:07
04 - Vida Mansa (José Batista/Norival Reis) 03:30
05 - Foi Batendo o Pé Na Terra (Kiko Dinucci) 03:18
06 - Febre do Rato (Kiko Dinucci) 03:34
07 - Dadá (featuring Ava Rocha) (Kiko Dinucci) 02:19
08 – Veneno (featuring OGI) (Kiko Dinucci/OGI) 03:29
09 - Tambú e Candongueiro (Kiko Dinucci) 01:43
10 – Gaba (featuring Juçara Marçal) (Kiko Dinucci) 01:52
11 - Rastilho (Kiko Dinucci) 03:08

All songs Copyright Control, except track 4, Todamerica

Edições LTDA - ADDAF
Released: January 21, 2020
Barcode/Cat no: 7899989996663

Label: Independent/Tratore
Site: kikodinucci.bandcamp.com
Format: Digital/Vinyl

Recorded and mixed at Minduca Studio - SP (September

and November 2019)
Kiko Dinucci - Vocals, acoustic guitar (nylon strings),
production, songs and lyrics.
Dulce Monteiro, Maraísa, Graça Reis and Juçara Marçal -
chorus (tracks 02, 04, 05, 09 and 11)
Juçara Marçal - voice (tracks 08 and 10)
Ogi - voice (track 08)
Ava Rocha - voice (track 07)
André Magalhães and Bruno Buarque - recording and
mixing
Felipe Tichauer - Mastering at Red Traxx Music - Miami
Pablo Saborido - cover photography - Estúdio Soy Yo

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Kiko Dinucci – Rastilho

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