“Longe de Onde”
by Ronaldo Evangelista
Karina Buhr's music has both 'yes' and 'no'. In her poetry, there is hope and death, loneliness and love. If writing songs is standing up for every possibility, a single song can fulfill every idea, thought and sensation anyone is able to feel and imagine. From the first to the last, all eleven tracks of Longe de Onde, Karina's second solo album, show that life is nothing but a big surprise.
Just like her first album (Eu Menti Pra Você, 2009), the newest was produced by Karina, with Bruno Buarque and Mau, drummer and bass player, who are responsible for the structure of her musical narratives that will smash your expectations. The band is completed by Andre Lima's keyboards and Guizado's trumpets, and don’t forget the outstanding guitar duo formed by Edgard Scandurra and Fernando Catatau: layers of sound taking turns and meeting up.
The ‘ninja warrior' band that follows the song's spontaneity also conducts high voltage electricity that comes from Karina: playing live is the experience; albums are made to give birth to the songs. Everything is light, everything is dense. One of the most fascinating things on a second album is when you see what was not an accident nor a coincidence. What becomes real voice, what crystallizes into an artistic personality – or what fits our hearing.
Thematically, lyrically, melodically, Karina's songs are an invention of a boundless world – geographic, conceptual, imaginable. The universe extends from “Cara Palavra”'s punk rock to the acute poetry in “Não Precisa me Procurar”. In the dance hall versus war zone images in “The War’s Dancing Floor” to the surf music vibe of “Guitarristas de Copacabana”. In the reggae “Cadáver”, where fatalism and lightness meet elegantly. In the lovely “Amor Brando”, where voice and guitar marry well. In the irresistible honesty contained in the quasi-new wave “Não me Ame Tanto”.
On a recent trip to Morocco, after a concert at Roskilde Festival (Denmark), attracted by the beauty of the place and the Arabic writing on the walls, by the symbol of the distant proximity, Karina revealed the cover picture of the album in Casablanca, with a photo by Jorge Bispo. “Far” depends on “where”, but “far” is also “where”. Karina Buhr is not from any place you might now. Her significance is made up of interpretations, insinuations, declarations, provocations, destructuralization.
With her romanticism and existentialism, lyricism and irony, Karina is absolutely honest in her lies of the art, in representation, in the anti-cliché suggestion in songs of oral rhythm, smart and instinctive. She has her own logics that exists once it's presented. Experiences that sum up, nothing is exactly explained and defined by itself. The poetry is not vulgar and literalism is a limitation. Experiences are unique, and that's where everything gets more interesting. Talking too much is like explaining a joke: you'll only know it by listening, thinking and feeling.