The electro-texture could stand on its own. So could the African drumming, soft Latin guitar strums, jazz brass accents, intrepid, seductive Brazilian vocals and echoed, smoky backups. But when they coalesce, the output is not only worldly, it’s extraterrestrial. There’s trip-hop; there’s trance and then there’s Da Lata, which doesn’t fit anywhere on this planet.
Patrick Forge, a world-renowned DJ, hooked up with multi-instrumentalist Chris Franck of Smoke City for the project. The two then enlisted the vocals of Liliana Chachian and the percussive beats of Oli Albergaria Savill. The pig-in-a-blanket formula of enveloping organic, grow-on-trees instrumentals with fuzzy, futuristic dancefloor technology isn’t anything new. But Da Lata takes the formula a step further by mixing extremes until they meld into something completely different, while still maintaining their own personality traits — kind of like in weddings when the couple lights a new candle together and blows out their individual ones.
OK, I realize that on top of that being a cheeseball analogy, it also disproves my theory of the music’s originality. So what. It’s still really good ear filler. In Brazilian Portuguese, da lata means anything really good. Literally, it means “from the tin,” which calls to mind an urban legend, when tins of the finest marijuana washed up on the Brazilian coastline. (Seriously, I read it. And everything written on paper is true, right?) Regardless of what it means, From the Tin is yummy cooldown music when you’re just not ready for the party to end — but your body needs a break and your mind needs a wander.
Melissa Giannini is the Metro Times music writer. E-mail firstname.lastname@example.org.