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Leavin’ ’em speechless
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by JACK OATMON Guilherme Boratto’s sound doesn’t fit very comfortably into any established electronic music category. Its often raw, scratchy, mechanical quality is reminiscent of classic Detroit techno, while its finicky production standards are shared by Boratto’s Berlin labelmates on Kompakt. But the Brazilian’s melodic songwriting rides the gradual, sequenced progression and analog buzz of his records, making for accessibility without venturing into the realm of synth pop. After perking up ears with his excellent 2007 full-length, Chromophobia, Gui Boratto is releasing his third album, Take My Breath Away, this month. One of the most exciting releases of the spring, the record refines Boratto’s distinct style into a seamless sonic journey without a single weak or underdeveloped moment. Take My Breath Away winds up with a hypnotic, locomotive blend of analog and digital synthesis, creating an air of expectation right off the top. “The main theme is the title track ‘Take My Breath Away,’” confirms Boratto. “That song represents the main context of the whole album.” As the album progresses, hints of analog instrumentation and older, grittier synths ease in and expose a human element, which points to Boratto’s musical history. “I did all the programming and the live instruments, guitar and bass, myself. I’ve studied piano and guitar for many years. I’ve never really been a DJ. I have a musician’s background.” The record’s true force finally bursts through on the fifth track, “No Turning Back,” where the full brunt of evocative, nostalgic instrumentation and driving techno meets with the only human voice on the whole album, which may be familiar to fans of Chromophobia. “Yes, it’s my wife singing. She also sang on ‘Beautiful Life’ from my last album. So it’s a very special song for me.” From there on, Boratto goes full tilt, exploring every corner of catchy, lulling techno/pop crossover and eventually roaring through a couple of club stompers before simmering down to a lethargic, meandering piano tune. It’s a production tour de force featuring a hoard of classic synths and clever programming tricks for the audiophiles to drool over. “I used a TR-808, Sequential Circuits Six-Trak, Studio Electronics SE-1X and ATC-1, Oberheim Matrix 6-R, MKS 50 and 70, NordLead2, MC-202, Novation BassStation and Supernova, among others.” WITH DJ MINI AT LE PARKING ON
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