The São Paulo band Engrenagem Urbana proposes a new look at the concept of Brazilian popular music with the release of its fourth album, Espiral. The project, which will hit streaming platforms on November 29, 2024, incorporates diverse styles such as pagode, afrobeat and rap, reinforcing the richness of Brazil’s sound. To celebrate, the group will hold a free concert on December 8 at Casa de Cultura Raul Seixas, in the East Zone of São Paulo.
With eight tracks, Espiral brings together important collaborations, including Fernanda Agnes (Grupo IMBA), Tiê , Marcelinho Freitas, Anelis Assumpção and rapper Thaíde. Each partnership expands the album’s musical narrative, addressing themes such as love, motherhood, ancestry and evolution, in a mix that challenges and expands the concept of MPB.
Funded by the 7th music support notice from the Municipal Department of Culture of São Paulo, the album reaffirms Engrenagem Urbana’s leading role in the music scene while inviting the public to rethink the boundaries of Brazilian popular music.
Through “Espiral”, you revisit styles such as pagode, afrobeat and rap. What was it like to realize that these genres, so rooted in Brazilian culture, are not always given the title of MPB?
“ESPIRAL” was created to shake up what we call MPB in a good way. It is worth mentioning that this so-called “MPB” is already part of Rap, whether through our references, samplers or even guest appearances. This is in no way an affront to the artists, but rather a critique of elitism. When people discredit Rap, Funk or any other style with urban, peripheral or black roots, they fail to appreciate what these artists have to offer. If we look at pagode from the 90s, for a long time it was labeled as mass commercial music. Today, the same pagode from the 90s is considered cult because someone outside of our circle decided to validate it. We need to learn to value our things before others do. When we explore and experiment with afrobeat , we combine this with our way of making Rap , with the characteristics of the East Zone, immersing ourselves in pagode, which has always been alive in the favelas. In this way, we prove that Brazilian Popular Music is in the essence of the people. Paraphrasing Milton Nascimento: “every artist has to go where the people are.”
Did working with artists like Thaíde, Tiê , Marcelinho Freitas and Anelis Assumpção bring new perspectives to the album? Did any collaboration surprise you during the recordings?
Working with talented people is always an honor, but working with talented people who have a history and respect our work is indescribable. Marcelinho was the first to accept the invitation. As a representative of our territory, he made history in his segment, and hearing his hits on TV, radio and at festivals was part of our experience. Talking about artists who started everything in the favela is an honor. “ESPIRAL” was born from this song. Wherever I go, it was the first step, as the chorus says: “My dream takes me there, but I return to my world.” Anelis Assumpção was chosen for the afrobeat , and the partnership was perfect. She approved our chorus and even brought compositions that surprised us — it was the great spice of the party. Tiê was another pleasant surprise. Her humility and welcome were incredible; she welcomed us into her home, and this musical encounter enchanted everyone. We were already fans, but this intensified it even more. As for Thaíde, we are biased. He is one of the most committed and detailed names in Hip Hop. It is a huge honor to have him with us, as well as the backing vocals ÀleoÀ , Adorne, Nyl and DJ Armatese . I cannot fail to mention Agnes, who participates in two tracks: the one on the album and “Abraço”, a moving song about our mothers or the absence of them. Agnes left a positive mark on the album, and we are grateful to her.
With the African concept of looking to the past to build the future, what do you hope the audience will take away from this song?
The new always comes. Moving forward is essential, but we cannot forget those who built what we have today. The track ” Sankofa ” conveys this feeling. It’s about going back and searching. Leaving our new MPB, revisiting our roots in Rap and going back and forth in a spiral. It’s not about going backwards, but about valuing history. The song itself says: “it’s not about going backwards, it’s about looking in the rearview mirror.” It’s about looking back to move forward. Engrenagem has always had this commitment: to make art and preserve history. Going back is not about being stuck in the past, but rather consulting it, studying it and using it as a basis for evolution.
In “Espiral”, there is a clear symbolism of evolution and transition. Do you believe that the representation brought by this decision amplifies the message of the album?
In addition to her representation, Agnes brings incredible talent and voice. The meeting at PelaArte was remarkable, and the song was born there. Her musical background, her struggles and her symbolism made it a historic moment for all of us. “ESPIRAL” is also a portal for this moment of ours: rediscovering paths, intensifying inner communication and balancing our desires. To do this, we had to look at life from different angles, without blind spots.
As a band from Itaquera, you bring a unique perspective on Brazilian music. How does your experience in the outskirts of the city shape your work?
The outskirts are our origins and intensify our perspective. When we step on this ground, we understand time, values and overcoming. Music is our channel of communication. It portrays the aunt who sells snacks, the uncle who fixes appliances, the young man facing the fear of his first job, or someone trying to give his family a better life. This is in the DNA of Brazilian music, which is not just a sophisticated night out or an academic presentation. The street gives us a different thermometer, which is reflected in the color of the skin, the haircut, the clothes, the way of speaking, the architecture and the improvisation. Those who live in the slums see the world differently. What is labeled as mediocre can be a trend, generating savings and resistance. The slums stimulate existence and the collective, even in individual actions. It is striking to see the slums in the city center, because they are everywhere.
Besides live performances, is there anything special you are preparing for this free celebration?
We want to reach new spaces and insert our art into other universes. We plan direct actions in education and ideas in the audiovisual field. We also want to better understand the aggregators to expand our work without losing focus on the stage. The new format of festivals requires that we know how to navigate it. We are building a network of possibilities with what we know and want to do. If “ESPIRAL” achieves what we project, we will be very successful.
After three studio albums, do you feel that this fourth work is an evolution in relation to the previous ones? What kind of legacy do you want to build with it?
Since “Primeira Linha” (2022), we have felt a greater maturity. It was an album in which we had the freedom to compose and produce, counting on a team dedicated in every aspect. We overcame many adversities, such as the loss of Kiko’s and my mothers, which inspired the song “Abraço”. Without the maturity acquired, it would be impossible to deliver such a special work. We prefer to talk about maturity, not evolution, because experimenting with other genres does not mean abandoning Rap. Matheus MxM and Kiko de Sousa did a meticulous job on the beats, timbres and equalizations. “ESPIRAL” is bold, creative and original, without following trends. Even the track names form a “nominal spiral.” It is an album that should be listened to carefully, as it brings deep and chronological messages about our experiences.
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