Roots, Sound & Power - since 2004

Formed by the producers Pedro Dubstrong, Gustah and Veiga, Echo Sound System is not just (another) reggae band, nor is only just a hip-hop group, but a collective production that reaches not only several Jamaican branches, but also many other influences.

“Do centro de SP mandando ver pro mundo inteiro / frequencias e efeitos em estéreo brasileiro”, which means something like “Stereo Brazilian frequencies and effects / sent from the heart of São Paulo to the whole world”, says Jimmy Luv  in “Todos Um”.

The trio’s name clearly shows their intentions. Inspired by the sound system’s culture and echoing several Jamaican musical styles, Echo Sound System uses technology to promote the re-gathering between reggae and rap, two musical genres very close to each other (after all the rappers descend directly from the Jamaican toasters). At the same time, the trio manages to show both the music from the smoky island and rap’s spectrum range.

Their debut album, “Tempo Vai Dizer” (ST2 Records), mixed by Ganja Man and Tejo (Instituto), matches all these several styles. From the rocksteady tune “Só d’eu ver(de)” to the hip-hop “Punnani”, the album brings also the reggae “Pas Tester” and the rub-a-dub “I & I”, among others. In addition to Veiga, responsible for the acoustic guitar, bass, flute and harmonica, Gema and Andrés Salazar plays the bass and the saxophone respectively.

Getting to know the Jamaican sound systems is crucial to the understanding of reggae’s importance to today’s world music. Since the Ska era, back in the fifties, till today’s dancehall, every night, in some corners of Kingston, powerful sound systems are assembled to promote the charge-free parties, held in open-air areas. These itinerant parties are the most respected way of musical propagation in Jamaica, serving as a test field for new singers and new songs.

Naturally, there has always been competition between the sound systems, each one trying to show the latest tunes. Not by chance, it was a Jamaican, DJ Kool Herc, who first brought speakers to play music at the streets of Bronx. After that, came Grandmaster Flash, Afrika Bambaataa and the rest is history…

Despite their respect for the past, “Tempo vai dizer” does not sound vintage at all. The fancy production brings actual references, mixing them with others to produce a very original sound.
“Echo Sound System, raiz com Futuro” which means something like“Echo Sound System, roots and Future” , as it is said in “Pas Tester”.

The smart drum programming, the distinguished timbres and the flying ambiances makes it evident. Another differential is the good use given to effects borrowed directly from Dub (such as delays, echoes and reverbs), which never sound exaggerated nor out of context. Not only in tracks like “Bom Filho” and “Kaya Monkeys (safari dub)”, where the influence of dubmasters like Scientist are obvious, these effects are used in the whole album. 

The hip-hop beats are either sustained by bass lines (“Leão de asas”) or by drum samples that come straight from the seventies’ reggae (“Pas tester”). The reggae tracks, however, follow the opposite way, accepting some rap elements. The MCs Funk Buia (Z’África Brasil). Jimmy Luv and Arcanjo (Familia 7 Velas) along with the Frenchman Pyroman (ex- Assasin), take turns on the vocals, mixing funny, spiritual and social speeches.

“Todos um”, a dancehall like hip-hop, already released on a vinyl compact in 2004, has got Funk Buia at the microphone. “Só d’eu ver(de)”, is the b-side of this very same compact, pressed on a 7-inch format, such as the classic Jamaican releases. While Arcanjo warns “um minuto pra explodir” “one minute until the explosion” in the strong track “Inna Babylon”, Jimmy Luv flood us all with his sincerity in the groovy “Replay”.

It is very common in Jamaica for singers to make different versions of the same song, using new lyrics and melodies created over the same musical background, what, in Jamaica, is known as riddim.  Following this tradition, in “Original style” Pyroman sings over “Stalag”, riddim immortalized by “Bam Bam”, in the Sister Nancy’s version.

In addition to the regular Echo’s collaborators, the Jamaican General Smiley, from the Michigan & Smiley Duo (famous in the 80’s for dancehall hits such as “Diseases” and “Rub a dub style”), also plays a part in “Tempo vai dizer”. Even though this was not the intention, the mix of languages internationalizes the sound, what makes it possible for the Echo Sound System to find it’s place abroad.

General Smiley took part in the project from a distance. His jaw breaking part, along with Funk Buia in “Rookie Rock” (co produced by the Swiss Romanowsky, from the collective Future Primitive Sounds) is one of the album’s highlights.

After 21 tracks, “Tempo vai dizer” is not tiring at all. “Favorite Song” closes the album in such a good mood that ends up making the listener to wish that the interludes were complete tracks, just to have a little bit more of its taste…. Or maybe wish that the CD was a vinyl record, so that after all the songs are played, you can play the other side as well.

Bruno Natal / November 2005

bookings/contact: echosoundsystem@gmail.com


Lethal Kalongi é um cantor brasileiro de rap e dancehall, considerado um dos pioneiros dos gêneros na Região Centro-Oeste do Brasil. É membro dos grupos Testemunha Ocular e Ragga Rural.
Interessou-se pela cultura hip hop no final da década de 1980, quando surgiram os primeiros grupos de breakdance em Goiânia, GO. Apesar de tentar seguir inicialmente carreira como dançarino, decidiu ser cantor após ouvir o disco Cultura De Rua. Desde então, já lançou quatro álbuns de estúdio (três deles pelo grupo Testemunha Ocular e um pelo Ragga Rural) e participou de diversas coletâneas, incluindo a mixtape Eutanásia e a Hospício do Rap (2012).

A verdadeira medida de um homem não é como ele se comporta em momentos de conforto e conveniência, mas como ele se mantém em tempos de controvérsia e desafio.

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