The breezy, lounge-chair bossa nova of Rosalia de Souza’s debut album, Garota Moderna, conjures visions of a snuggly, ’60s-era upper-class Rio de Janeiro: the stuff of careless romances, exotic coffee drinks, and Stan Getz tunes. Airy cymbals, breathy flutes and clement pentatonic piano solos combine with Souza’s seductive “da da dee diddy doo doo” in the opening tracks “Maria Moita,” and “Bossa 31,” setting a tone that doesn’t waver for the entire album. Like an ambient fleur de lys, Garota Moderna,/i> is ideal for cocktail parties, but its mild “blame it on the bossa nova” vibe is hardly an accurate characterization of Brazilian culture.