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São Paulo Confessions

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Album Review

Brazil's São Paulo is the largest city in South America, home to an estimated 19 million inhabitants. In 1992, this megalopolis ranked as the world's third largest city, coming in behind Tokyo and Mexico City. Within São Paulo's environs, like within any 21st century city, there is diversity and disparity, super-modern chic, and profound indigence. On the CD São Paulo Confessions, the Yugoslavian-born Brazilian pianist, producer, and programmer Suba mixed the modernity of techno beats and sampled loops with traditional Brazilian musics. Suba, who previously played piano with Hermeto Pascoal and Marcos Suzano, and produced records for such well-known Brazilian artists as Marina Lima, Mestre Ambrosio, Edson Cordeiro, and Arnaldo Artunes, collaborated on São Paulo Confessions with percussionist João Parahyba and vocalists Cibelle and Taciana. Their live percussion and vocals, in addition to a number of acoustic guitar melodies, add enormous depth to Suba's inventive compositions. Unfortunately, the songs suffer when a standard techno dancehall bass drum line is added to the mix. The techno beat tends to take João Parahyba's uniquely Brazilian rhythms and override their subtleties with an extremely uninteresting and plodding beat. Nonetheless, particularly commendable tracks on São Paulo Confessions include "Vocé Gosta" and "Antropofagos," which both feature reverberating street samba rhythms. The CD's eighth track, "Sereia," has at its core what sounds like an oscillating electronic cuica. In sum, Suba, who died from smoke inhalation during a fire in his São Paulo apartment and studio, was indeed one of Brazil's most promising exponents of modern Brazilian music. Though his death is undeniably tragic, Suba's inventive and visionary São Paulo Confessions will allow his legacy to live one.

Customer Reviews


Notwithstanding the probability that the technology for sampling didn't exist in 1935, this is some of the best music of its type that I've heard in a long while. It seems to me that virtually all Brazilian music has at the very least a redeeming quality ... and the best is superlative. The unique Brazilian sound was made for electro treatment and rarely suffers from it. So sad that Subo is no longer with us to continue this great work.

A sad loss

An amazing album by a superbly talented guy.I feel a mixture of joy and sadness when i listen to this album.A musician who could have gone on to reach such heights.A legend!.RIP Suba.

A Tale of Four Cities

What I find interesting is the development of Brazilian music and it's distinctive genres of rock, samba, funk, hop hop, ashay sound, influences which I think culminates with Mitar Subotić's masterpiece. This is one of those albums that is able that blend music, culture and artistic magic to create something worthwhile. Published in 1999 at the turn of the century, this EP stills sounds as fresh as yesterday...


Born: 23 June 1961 in Novi Sad, Yugoslavia

Genre: Electronic

Years Active: '80s, '90s

Suba was a producer who had important participation in the process of inserting electronic sonorities in the Brazilian pop sound in the '90s. Suba (Mitar Subotic) arrived in Brazil on March 15, 1990, with a UNESCO scholarship. No one knew him, but he opened his way and began to display his work in music, theater, dance, fashion, and advertising. Among his several notable works as producer are the albums Tanto Tempo (Bebel Gilberto), Pierrot do Brasil (Marina Lima), Benzina (Edgard Scandurra), and...
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São Paulo Confessions, Suba
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Customer Ratings

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