Review Summary: Hailing from Brazil, CSS honor their native land by making music as unmemorable and dry and the shallowest part of the Amazon, occasionally getting a bite of flavor in.
It certainly is nice to hear music from other parts of the world and consider ourselves open minded isn't it? Whether we are jamming to Rush because they come from the far off land known as "Canada" or we are casually enjoying the unheard fruits of the British "Led Zeppelin", it sure does add a quality to the music knowing these bands are unique and one of a kind, discovered only by us. Yes music from other cultures and from places which uses an ENTIRE different currency is quite the THRILLING EXPERIENCE, but what if the music is bland, repetitive, and sounds exactly like the same bands from around you? Well there goes the entire point.
Such is the case with Cansai de Ser Sexy (which will henceforth be referred to as "CSS") who's novelty isn't built around their place of birth (which really doesn't matter anyways), but around the outgoing and trying attempts to appeal as "sexy" and edgy". Music such as this is built around playing memorable songs that get into our head and watching risque videos where the images of said videos get put into our head and stay there. This element of the make up of CCS by far overtakes the appeal of the bands unique origin as typical changed name for sex appeal members such as "Lovefoxxx" deliver up tempo lines and verses, but the words that she sings are themselves horrible and cliched and when you don't start off with a good base of words, even having the appeal of a great melody and catchy sound can be wasted.
Thankfully this is not the case, as the sub par lyrics spewed out by this band receive as much musical support as Roger Clemons gets run support. Sure the band is heavy in guitars (sporting 4 separate members who play the instrument, among other instruments) but this is not a guitar album, void of catchy hooks and interesting guitar play. The spotlight shines brightly on the keyboard featured in the piece. Indeed keyboardist/guitarist/drummer (!!) Luiza Sá gets featured as the primary instrument, crafting the grass that the rest of the work takes off their clothes and streaks through. As previously mentioned, the lyrics connote a very sexual and dirty feel, facilitated by Lovefoxxx's delivery of said lyrics. Featuring song titles such as "Music Is My Hot Hot Sex", "Lets Make Love and Listen to Death From Above", and "*** Off Is Not The Only Thin You Have To Show"; a selection rooted in the idea of being a gimmick or just being horrible is obvious. I'll give the benefit of the doubt to the band however, and call these title simple unsuccessful attempts to be edgy. This would be the case, if the song titles weren't an active part in the actual songs. Yes "Lets Make Love and Listen to Death From Above" really is an attempted booty call with the offerings of
Death from Above 1979. While I admit to taking all of this too seriously, it doesn't really make a good joke either.
Is there really any work of anything that you just know is doomed after hearing the first song? This sure is a candidate for that honor as
CSS Suxxx sets in ands establishes the band as people who make 2 minute introduction tracks that sum up to nothing. Is it that bad? Guitar squeals and drums count in a voice repeating "CSS sucks" until a droning voice takes over the job of saying "CSS Sucks", the keyboard comes alive and plays with the guitar as the background noise is "CSS Sucks", a phrase which in the song is repeated 34 times in the 1:56 that the song lasts. Honestly at that rate and considering what the phrase is, friggin' Eruption could have been playing in the background and I would still hold that the point that this song sucks. This tune doesn't deserve to be in the beginning, middle, end, or anywhere on any album.
All rants on the obviously joke (right?) opener aside, the album moves on with
Patins which is thankfully not titled
CSS Still Suck. The rest of the album begins with actually human music, music as in it is nice friendly, no recordings play in the background and I don;t feel like I wasted 2 minutes. While this quality exists, it is one of the sole qualities of this song; featuring both Lovefoxxx and Adriano Cintra (who also plays guitar, drums, and produced) have a conversation with each other with singing. The female voice is the main one in the song as well as in the band, while conversing with Cintra who sings in a sometimes off key and Hopes of resurrecting this album are dashed with a dull pop song, maybe the band should try their hand in trying to be catchy.
Indeed this is what they do on the next track,
Alala is sadly one of the bright spots on this release, being bridged with the repeating verse opening line of "Alala/Alala" with sounds that sound either like watered down America On-Line connecting noises for those with Dial-up, or they stole one of
Beck's keyboards. Whatever Sá puts into his keyboard to keep the song going is not the issue, as the mentioned lyrical line actually makes this a decent song; where the only fault is when Lovefoxxx says "bitches", it sounds like "Peaches" which brings up the thought of the shock singer of the same name,
Peaches. While there are no "teaches of peaches" moments going on here, one must cringe at the idea of Peaches having another musical outlet besides XL.
Even with the repetitive songs, there is no CSS review complete without mention of their lead single and hopefully the tune that will make them one hit wonders, "
Lets Make Love and Listen to Death From Above". This serves as another highlight on this musically limited album, good guitar work and the introduction of hooks as well as the deliberate polishing of this track, as they know this is the one people are going to think of when they think CSS. I would love to discredit this song by calling it the "single" and stereotyping it as just that, but that would merely be an excuse for me to trash this band further. "Lets Make Love.." is a good song, its what CSS are supposed to be, a dance-y fun enjoyable band, its just that the other songs don't hold up to that standard.
A big band needs distinction if they are going to exist. At the most this traditionally requires the member who is most involved to simply be in charge of their main instrument and possibly do one other duty. CSS break this law by having multiple multitasking members who in some cases have more than 3 jobs. It is impressive that an album can be made with such rigorous multitasking and using the lot of talent it takes to cover that ground, but this is their downfall. Perhaps if the band assigned one instrument to one member, this could have been better; but on the other hand that is merely my take and the band is allowed to exist however it wishes.
