Rapper Joca returns after six years to discuss how his creative process transformed for the album 'Corta Vento'.
In this episode of 'Por Trás do Disco', host Kleber Fá interviews rapper Joca about his album 'Corta Vento', which arrives six years after his previous work 'A Salvação é Pelo Risco'. Joca discusses how his creative process evolved from experimentation to a more mature, deliberate approach, allowing him to work fully with music. He explains the album's title 'Corta Vento' (windbreaker) as both a practical garment and a spiritual metaphor, revealing he discovered he is a 'child of the wind' during his spiritual development. The album features collaborations with diverse artists like Ebony, Tuyo, Thiago França, Antônio Neves, and Rio Urbana, which Joca describes as natural extensions of his musical research. Joca breaks down key tracks, starting with 'Chuberância', which opens the album as a greeting to the orishá Exu, responsible for paths and communication. He talks about 'Chinelinho' as a grounded, autobiographical song and 'Só por Hoje' as a collective self-affirmation track with Antônio Neves on horns. The song 'Badui 3000' with Ebony plays with romantic tension despite their platonic friendship, while 'Nighty Angel' marks a transition in the album's narrative. Joca describes 'Onda' as a pivotal song written during a period of instability, and 'Não Me Reconheço' with Tuyo explores themes of identity and reflection. The album's structure is divided into three acts, with songs like 'Barca 2' representing a return to humility and 'Filho do Vento' inaugurating the third act with a focus on Brazilian music and spirituality. Joca highlights 'Aieo' for its war-and-dream themes, featuring Jeff Rodrigues and Luciane Don, and 'Fefe' as a fusion of diasporic rhythms. The closing track 'Prelúdio da Saudade' with Thiago França serves as a cyclical mirror to the album's beginning. Throughout, Joca emphasizes sobriety over ostentation in rap, aiming to offer alternative perspectives on success. He selects 'Onda' as the track that best synthesizes the album, noting it is where he risks the most self-exposure.
