Cansei de Ser Sexy
Cansei de Ser Sexy
2005
Rankings
Why This Album Matters
Cansei de Ser Sexy, the debut album by the electrorock band Cansei de Ser Sexy, marked the group's entry into the international music scene with a vibrant and singular sonic proposal. Released on 9 October 2005 by Trama Virtual, this work stood out not only for its fusion of electronic and rock elements, but also for its innovative approach to music distribution. The album came with a blank CD-R in its packaging, encouraging buyers to copy the disc and give it to friends. This pioneering initiative sought organic self-promotion and paid direct homage to the growing dissemination of music via the internet, anticipating digital trends in sharing and audience engagement.
Context
Before Cansei de Ser Sexy, the band had already explored its creative potential in earlier releases. The album incorporates songs from the EPs "A Onda Mortal / Uma Tarde com PJ" alongside unreleased tracks, consolidating a repertoire that was already familiar to part of the audience and introducing new compositions. This strategy allowed for an organic transition to their first full album, capitalising on pre-existing material and expanding their discography with new additions.
Recording
The album's production featured the multifaceted participation of the band's own members, such as Adriano Cintra, who took on roles as instrumentalist (drums, guitar, keyboard, bass, harmonica), vocalist and producer, as well as mixing assistant. The executive production team included João Marcello Bôscoli, André Szajman and Cláudio Szajman, with Carlos Eduardo Miranda as A&R. The recording featured Clayton Martin as engineer, Rodrigo Sanches on mixing and Ricardo Garcia on mastering, ensuring the technical quality of the work.
Songs
Cansei de Ser Sexy's repertoire blends tracks already known from the band's first EPs with new compositions, creating a cohesive listening experience. Songs such as "Superafim" quickly gained notoriety, even being integrated into the soundtrack of the Big Brother Brasil 6 programme as its general theme. Other highlights include "Meeting Paris Hilton", discovered by FOX producers and used in the reality show The Simple Life, and "Art Bitch", which was part of the French compilation Les Beaux Labels. Furthermore, "Alala" and "Off the Hook" were included in the soundtrack of the game Forza Motorsport 2 for Xbox 360, extending the band's reach across different media. The international version of the album, released in 2006, adapted the repertoire for a global audience, removing songs in Portuguese and adding new ones in English, reflecting the group's growing international visibility.
Legacy
In Brazil, the album reached number eighteen on the Associação Brasileira dos Produtores de Discos chart, while singles such as "Superafim" peaked at forty-five on the Hot 100 Brasil. Driven by increased airplay in foreign countries, Cansei de Ser Sexy embarked on an international tour in 2006, sharing stages with bands such as Ladytron and Basement Jaxx in Europe. The international version, released by Sub Pop, achieved significant success, reaching number sixty-nine in the United Kingdom, twenty-four in Ireland and nine on the Billboard Top Electronic Albums in the United States, selling approximately 60,000 copies. Singles such as "Let's Make Love And Listen To Death From Above" and "Music Is My Hot Hot Sex" stood out internationally, with the latter reaching number sixty-three on the Billboard Hot 100 and twelve in Canada. Notably, "Music Is My Hot Hot Sex" gained even greater prominence when it was used in an Apple iPod Touch commercial and became part of the first music video in YouTube's history to reach 100 million views, a record at the time.
Tracks
Credits
Adriano Cintra
Books
Álbum 4 - 1994 a 2025
Pedro Alexandre Sanches · 2025
This is the fourth volume of the 'Álbum' series by journalist and music critic Pedro Alexandre Sanches, which aims to chronicle the history of Brazilian music through the analysis of albums that span time and mark the experience of different generations. Covering the period from 1994 to 2025, the book explores the trajectory and impact of the most relevant albums of the era. Cansei de Ser Sexy's debut album, released in 2005, fits within this timeframe and is a probable candidate for an in-depth analysis given its cultural and international relevance to Brazilian music of the period.
Os 500 Maiores Álbuns Brasileiros de Todos os Tempos
Ricardo Alexandre · 2022
The largest Brazilian music election ever conducted: 162 specialists, spanning journalists, critics, musicians, producers and podcasters, each nominated 50 essential albums, supported by a masterlist of more than 2,000 works. Led by Ricardo Alexandre with tabulation by Sérgio Jomori, it was published in December 2022 as a 200-page hardcover book with graphic design by Fernando Pires.
Analyses
Cansei de Ser Sexy – Wikipedia
Wikipedia, the free encyclopaedia
CSS: Cansei De Ser Sexy Album Review | Pitchfork
pitchfork.com
CSS's whole fast-and-cheap aesthetic is more fun to think about than to actually hear; more often than not, their songs end up sounding like the crappy filler tracks from the first Le Tigre album.
Review: CSS, Cansei de Ser Sexy - Slant Magazine
slantmagazine.com
Review: CSS, Cansei de Ser Sexy Like former blog darlings Annie and M.I.A., CSS doesn't have an obvious analogue on either the mainstream or indie-pop scenes.
Discos históricos: Cansei de Ser Sexy, do Cansei de Ser Sexy (2005)
fagnermorais.substack.com
While adored by critics on the one hand and dismissed as crude on the other, Cansei de Ser Sexy stirred up a lot of people at the time, and their debut album is an important representative of a new world emerging before our eyes.
A ironia pop e o caos dançante da banda Cansei de Ser Sexy após 20 ...
radiovbnews.com
In 2005, Brazil was going through one of its most restless cultural phases in the underground — and it was from this scene that Cansei de Ser Sexy emerged, the eponymous debut album by the São Paulo band that redefined the boundaries between indie rock, electropop, and ironic performance.
