duplodeck’s path contradicts the simplistic theory that trends return every 20 years. They started out in 2001, initially inspired by guitar bands like Teenage Fanclub and Yo La Tengo, but soon added female vocals and lounge keyboards, allowing flirtations with bossa nova and comparisons to Stereolab. This phase is well represented on their debut EP, which was recorded in 2003 and quickly abandoned when the band began to shift its aesthetics. During 2004′s rehearsals, moments of noise gave way to the simplicity proposed by The Strokes, while the Brazilian influence was diluted. They were planning a full album for 2005, but the band split up that same year.
In 2011, Pug Records issued the forgotten self-titled EP. Tuned to the label’s cast and current guitar bands, its 5 tracks seemed to sound fresher than when they were first composed, 10 years earlier. At this point, duplodeckers reunited to resume the full-lenght album project, inviting their friend Ciro Madd to produce it. The result of this process is Verões, aka summer, in Portuguese. Once again with a 10 year delay, duplodeck presents its music without worrying whether it would have made more sense in 2004 or not.
The album opens at seaside with Saint-Tropez, a charming and coastal ballad. Mixing jazzy elements and spacey effects, Uns Braços is another moment for fans of Brazilian music. Bom Dia, Amor builds up while Clap Your Hands Say Yeah and Mutantes seem to collide. Simple and straight forward, Boemia and Hi-Fi could’ve rocked the dance floor in the early 00′s. Strange Girl and Verões bring remnants of Brazilian Popular Music almost buried by feedback that reminds us of Wedding Present and Radiohead. Finally, Brisa is the only moment that matches the original idea of the band – the eighth track closes the debut album with a sunset atmosphere built on layers of guitars as contemplative as those from Everything Flows and I Heard You Looking Me.