Mergulhar Mergulhei brings 10 novel songs, two of them in partnership with Romulo, one with Pablo Casella, a longstanding partner of Pipo, and one with the poet Arruda. Xênia França (from Aláfia band, of which he is a also member), Luz Marina, Filipe Catto and Romulo share the singing on several tracks. Recorded live, the studio band is the same that accompanies Pipo in his concerts: Décio 7 (drums), Gustavo Cék (percussion), Marcelo Dworecki (bass), Cuca Ferreira (saxophone and flute), Fernando TRZ (piano) and Lucas Cirillo (harmonica).

The album name comes from a fragment of the last track lyrics, O Que Só Cabe Em Nós, and reflects the most mature and profound musical moment of the songwriter by revealing an intimate look at the dimension and environment that exists within himself, the “time of the stars.” It is a denser and deeper stage of his career, full of pauses and explosions. Pipo’s dreams, daydreams, everyday experiences and stories are transformed into prose filled with sound elements, and into atmospheres that are close to the mystery, lightness, expansion and breaking.

The arrangements of the songs are signed by all members. A rich and free collective construction was pursued. This sonority was a result of the creative process immersion made by the band and Romulo Froes during two weeks of rehearsal. Following this “diving”, they recorded the songs at YB Music studios.

Flirtations with jazz are evident. The album is full of improvisation captured in single takes in the recording sessions and suffered no further cuts or editing. The string quartet Alma Negra was recorded under the regency and arrangements of Marcelo Cabral (bass player of Passo Torto, Metá Metá and Criolo), who also played acoustic bass in the track Indecifrável. There is also the participation of the clarinettist Luca Raele, the percussionist Guilherme Kastrup and the vibraphonist and percussionist Beto Montag.

The influence of classical songwriters like Steve Reich and minimalist sounds are important for understanding the outcome pursued. The album also makes direct references to Brazilian music (such as the album Matita Perê, from Tom Jobim, and Clube da Esquina), which are presented in a diluted and immersed way within the writing ideas.

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