This really is the stand-out track from Ed Motta's 2000 album, "As Segundas Inten��es Do Manual Pr�tico". On this album, and in albums since, Ed seems to span jazz-latin reluctantly with pop. The rest of the album, bar a couple of tracks, is a fairly straight forward pop affair, but the song writing on his albums since have been a lot more adventurous and in this vein, but nothing has matched it since.

Come on! how come nobody's recommended this yet?
great repetitive, driving string backing, fantastic hiccup-monkey-like vocal hooks, faboulous performance.
essential.
(stereolab has an absolutely fantastic slow twangy version of this on the album spacey double spiral. very, very highly recommended.)

Taken from his exquisite Latin American Suite, this is an unusual sounding track to me. Mid-tempo, with an unrelenting bossa nova style beat, the action is shared between the piano and various horns and saxophones. I guess it's the strange discordant tones that take this track higher for me. They remind me of some chords I've heard in the more adventurous Brazilian pop music of the late 1960s - basically taking what is fundamentally a sweet sounding, warm chord, and overlaying notes that provide a darker, more forboding feel.

Adding to this, the punctuating horns and reeds give the whole thing a gently groovy feel that's reminiscent of quirky 60s soundtrack music. Really cool stuff, and I recommend the whole album.

This is a mesmerizing pop-psych number from maybe the greatest British vocal group of the sixties. The composition is adventurous and reminiscent of SF-based sunshine pop but with that distinctive, eloquent British touch.
Harmony Grass was the group Tony Rivers fronted after his success with The Castaways.
He's been an important influence on Mike Alway's legendary �l label.

I first heard this one on one of the radio mixes on Stereolab's website, and found a copy for relatively cheap on eBay shorty thereafter.

Anyway, it's great.

The sound reminds me of Gary McFarland's "Latin Lounge" stuff but with a bigger sound and an extra element of subtle funkiness. Gismonti's arrangement here is adventurous, unpredictable and totally engrossing.

The whole album is wonderful -- "Pendulo" and "Parque Laje" are equally as good -- but I'm still most partial to this, the first track that I heard.

Is it just me or are the original compositions on Command LPs almost always the best and most adventurous? Here is one my all-time favorite Command recordings. A far-out, moogy masterpiece by Hyman. It's about 8 minutes long, not nearly as pop as the rest of the record, and totally brilliant. According to the liner notes, Kolumbo was improvised on the Moog and the Maestro Rhythmaster, "a mechanical drum device," fed through a Echoplex-tape reverberation unit. Improvised Moog? Is that possible? This is very strange stuff. From the liner notes: "[...] there is an effect of a battery of African drummers following an improvised soloist. The listener can provide his own scenario of what seems to be a musical battle, as a second soloist abruptly materializes, challenging the first man. At the end, the original soloist states a brief epilogue, packs up his horn, and splits."

The song is mostly comprised of guitars, though it also features synths that provide timpanies, mallet sounds, and string sounds, as well as an electric bass guitar.

Its a really interesting arrangement and has quite a memorable main melody. The song ends with an interesting modulation (key change) that sustains the main them.

Its a beautiful rock instrumental song with a focus on arrangement, textures, and mood that you might see in a classical piece.

Reminds me of the Stone Roses without the psychedelic rock vibe.

Although far removed from the adventurous group that had long ago dabbled in minimilist, almost avant-garde electronics, all these years later the Human League continued to take its pop seriously. "One Man in My Heart" could have been a total throwaway, a gloopy little love song without a single redeeming quality, beloved by grannies and tweenies, gag-inducing for those outside those age parameters. But the band obviously gave the number time and attention, and thus ensured that it can't be so easily dismissed. Inserting a much sampled electro effect into the intro, creating an intriguingly intricate rhythm, counterpointing swelling, lush synths with a palpitating '70s-styled organ, layering on vocals and harmonies, and conjuring up a romantic milieu flushed with delicate atmospheres, the group produced a love song unlike virtually all typical pop fodder. The work, effortless as it sounds on disc, paid off, and this 1995 single swept into the U.K. Top 15.
(AMG)

An unusual Marcos track, a 9-minute instrumental suite tucked away at the end of one of his most adventurous albums. Hugely recommended to Axelrod/Electric Prunes fans, as it sounds almost exactly like something from "Release Of An Oath" or "Mass In F Minor."