DJ Dolores, “Ciranda Da Madrugada”

This is one of those songs that seems like it was assembled so
carefully. It’s in the electronica-pastiche mode, with a sultry female
vocal in Portuguese and a samba band playing behind it. It also has an
accordion, but the instrument is so tight on the beat that it sounds
much more like a sample of an accordion than a real accordion. The
real star of this song is the guitar line, which sounds harsh and
acrid and complements the vaguely Elza Soares–sounding woman by
reinforcing her air of menace.

 Meanwhile, because it’s a dance-electronica kind of record, it kind of
loses track after a chorus or two, in order to give the listener time
to really understand what’s going on. The bass keeps bouncing atop the
samba drums and below the woman, singing these long melodic lines, and
the sawing sound of the accordion.

 [Meanwhile, here at the air terminal, where I’m writing these reviews,
I look over at the television, and there is a woman in a
platinum-blonde wig driving evasively. It kind of goes along with the
tune, in a weird way.]

Macha – “Believe”

I have no idea what this song is or what it’s doing on my music player.

 The opening intro, with phone-pad tones chirping out the melody, seems
jarringly bright compared with the opening verse and the soft vocals.
This one plus the Bola Johnson could make a nice mini-set of
garçons fragiles en anglais, although Bola wasn’t singing in

 Aha! It’s a cover of the Cher chestnut. “Do you believe…in life after love?”

 Jonathan’s snap judgment: So-so. The dialpad-tone accompaniment comes
across as gimmicky, but then so does covering a Cher song without
belting it like the karaoke veteran inside you.