A long time before his 30th birthday, Brazilian wunderkind Lucas Santtana had absorbed even more music than most experts would encounter within their lifetimes, having traveled all over the world with the largest titles in Brazilian Tropicalia. The pure volume of affects, including Afro-Brazilian rhythms, Motown funk, Brazilian metallic (? la Sepultura), and Western electronica allows him to conceive of sonic textures later on that nobody else even would consider. Even more amazing, though, is the fact that he originally found prominence as only flautist. The son from Bahia was initially launched in his early twenties, when he was found out by Brazilian super-heavyweights Gilberto Gil and Caetano Veloso. After playing on both Gil’s resurgent Acoustic and Veloso’s questionable Tropicalia 2 in 1994, he was asked to become listed on them on the tour of European countries. In the arriving years, his understanding of non-Brazilian tradition extended incrementally. When he came back, he would function alongside Chico Technology, another adventurous band of radical Brazilians, and spending some time in the studio room recording other performers’ tasks, including Arto Lindsay. But he was simply biding his period, waiting until he’d get his very own submit the limelight. This came on the convert of the hundred years, when he released his debut LP, Eletro Ben Dodo, in to the outstretched hands of the doting international vital press. Stepping from the darkness of Gil and Veloso, he demonstrated that traditional Brazilian Tropicalia could possibly be tweaked to fit well within a global pop framework. Borrowing in the wares of everybody from James Dark brown to Caetano and Gil, Santtana brewed a sonic amalgam which was both astonishingly mixed however pleasingly unified. Obviously, this record makes Santtana among the most popular musical properties south from the equator.