Standing still is not Mônica Freire’s habit. Born in Brazil, she has lived on four continents, from Japan to the West Indies via France and Quebec. Her life as a great traveler finds its echo in her music: her first two Quebec records (Bahiatronica And Na Laje) were rooted in Brazil, but integrated diverse elements, ranging from electronic music, reggae or Indian music.
Ilhada, his first album since 2008, is however of a completely different scale. Without denying the heritage of his native country, which is manifested in particular in the songs Oura samba duet with her compatriot Fabiana Cozza, or Vai la Pra Ca, Mônica Freire here merges it with instruments typical of Near Eastern music such as the oud and the kanun. This cross-breeding is a reflection of his own family tree: his ancestors, on his mother’s side, come from Lebanon and Syria.
There is absolutely nothing cosmetic or aesthetic about Ilhada. The mixtures of musical traditions flow naturally. Old instruments naturally rub shoulders with electronic violin making and electric guitars, composing a current sound setting, inventive, daring and immensely welcoming for the soft voice of the singer, who constantly switches from French to Portuguese.
Mônica Freire evokes deep wounds and loneliness on this beautiful album. However, it also carries a lot of hope and kindness. Ilhada marks much more than the hoped-for return of a talented musician, it is a collection of small mixed symphonies, a jewel box of superbly arranged sounds.
Knowing Mônica Freire, we already know that the stage transposition of this beautiful record will be thrilling. She is already offering a first meeting, on March 20 at the Lion d’Or. The show is free, but reservations are required.
Extract of Areia
Mixed Brazilian music
Ilhada
Mônica Freire
Mônica Freire / Audiogram