Satanique Samba Trio
Bad Trip Simulator #2

THE REVIEW

Honestly, I never thought I would have to encounter satanic symbols again.

Almost thirty years have passed since that musical upheaval that hit me so radically in the mid-eighties. Listening to thrash metal and donning inverted crosses and pentagrams on myself certainly did not indicate belonging to a particular religious creed, but rather represented a sign of negation, the assertion of a desire to detach from the world represented in its daily conception by the house, school, and church, in a moderate and proper way. Not even delving into what the various groups had to say in their lyrics interested a teenager who was beginning to painfully sever those ties that kept him bound to a world he didn't feel he belonged to.

In Satanique Samba Trio, however, everything is conceptualized. The first thing that strikes is precisely the use of religious or magical esoteric symbols upside down, as a representation of the opposite, or Satan in its original meaning as in Arabic, Persian, and Hebrew languages. And if the hermetic principle of polarity says that two poles share the same nature in different degrees (white and black, cold and hot, ...), the Satanique Samba Trio place themselves on the opposite side of all the clichés that Brazilian popular music has erected around itself, often becoming entangled in it.

If tropicalism had aggregated new elements within popular music, the Satanique Samba Trio subvert its paradigms from within. If MPB were represented in its lightness and natural harmony by a passarinho, the Satanique Samba Trio would gut it and start playing with its entrails.

A terrible trip to all of you with this abject album.