Sessa: “We have to find a way to survive, to make men and women experience pleasure”

When Sergio Sayeg showed up in Joel Stones’ Tropicália in Furs document store around 2007, it seemed like a fluke. Stones experienced seen the angular younger person with a major cloud of dim hair all over Manhattan’s East Village for months. But the stranger’s interest in the Brazilian-certain vinyl haven promptly unveiled by itself as quickly as he started talking, his English rounded with the exclusive whole-bodied lilt of a Brazilian accent. The teenage Sayeg grew to become a regular  in the retailer, absorbing its contents – tracks, discographies, monitor lists, liner notes, credits – like a sponge. Stones’ record shop would switch out to be a gravitational power for Sayeg, who’s now on his second Tropicália-indebted album under the name Sessa. His time there as a clerk and a customer improved his partnership with music for good, supplying him a portal that hurtled him into the rest of his everyday living.

“You soak in, like, what’s a tune? When do the drums come in? How ought to they sound?” Sayeg recalls, pulling aside a sweet, puffy brioche croissant in the sunny front window of a tiny Portuguese café in Jersey City. On stage and off, Sayeg dresses himself in hanging classic outfits that vaguely recall the 1960s-era psychedelia that seeps into his new music. However Stones phone calls Sayeg “a minor Bob Dylan”, the mysterious Minnesotan would in no way be witnessed in these types of bold attire. Bob’s decline, really.

Fifteen a long time just after he initial stepped into Stones’ store, Sayeg is nearing the stop of a United States tour opening for the freewheeling Turkish psych-folks band Altin Gün. At the Songs Hall of Williamsburg the evening just before we meet up with – the next of two bought-out exhibits there – the 33-yr-previous sat hunched more than his honey-colored acoustic guitar on a late April evening. He introduced songs from his 2nd album, Estrela Acesa, carrying a soothing, radiant energy. The project’s title, in Portuguese, suggests “burning star”.

Sayeg built the history at the property studio of his São Paulo friend Biel Basile on Ilhabela – “beautiful island” – positioned about 200km southeast of São Paulo. There, the pair constructed the album’s rhythmic basis from a beachside locale. But Sayeg’s journey towards remaining an ascendant steward of 1 of Brazil’s beloved musical exports commenced perfectly right before he at any time stepped throughout the threshold of an enticingly named history retail store with a guitar in the window.

Now 33, Sayeg does not remember when or wherever he arrived by the nickname Sessa. He employs the title as a mononym for a total band, in which he’s joined by singers and a drummer. Sayeg grew up in the incredibly little enclave of São Paulo’s Sephardic Jewish group. “I do not consider people that show up at synagogue would say, ‘Oh, this is a music position,’” Sayeg recollects. “It is pretty musical. But it’s just prospect.”

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