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Various Artists - Colt 45 – Underground Post Punk, Tropical Tapes, Lo Fi Electronics and Other Sounds from Brazil (1983-1993). Selected by Tetine
Digital
£8.99
Out 12th December 2017

Various Artists

Colt 45 – Underground Post Punk, Tropical Tapes, Lo Fi Electronics and Other Sounds from Brazil (1983-1993). Selected by Tetine

Slum Dunk

Expected: 12th December 2017 | 18 track post-punk album

COLT 45 - Underground Post Punk, Tropical Tapes, Lo-Fi Electronics and Other Sounds from Brazil (1983-1993) is a new compilation of unorthodox underground sounds, featuring original music produced between 1983 and 1993 by Brazilian iconic experimental bands such as Divergência Socialista, R. Mutt, Saara Saara, Vyzadoc Moe, City Limits, Individual Industry, Harry, Ida & Os Voltas and O Grito Mudo.

Borne out of the Slum Dunk radio sessions – hosted by Bruno Verner & Eliete Mejorado of Tetine, aired on Resonance Fm 104.4 in London from 2002 to 2008 - COLT 45 - Underground Post Punk, Tropical Tapes, Lo-Fi Electronics and Other Sounds from Brazil (1983-1993) gives continuity to previous efforts to document the lost history of Brazilian postpunk and electronic music from compilations such as The Sexual Life of The Savages, Underground Post Punk from São Paulo (Soul Jazz Records 2005) and Slum Dunk Presents Uncorrupted Tropical Wave 1984-2011 (Slum Dunk Music 2011) both records compiled by Tetine.

BANDS

Vzyadoc Moe

Formed by Fausto Marthe on vocals, Marcelo Raymond on guitar, Marco Stefani on percussion, Degas Steffen on bass-guitar and Jacksan Moreira on guitar, Vzyadoc Moe is a post punk samba-noise outfit from Sorocaba, São Paulo producing expressionistic/occult-tinged sonic landscapes. Their music sits somewhere between the energies of garage-samba, industrial and angular post punk. Dubbed as 'hard macumba' Vzyadoc Moe makes use of a peculiar percussive set made of tin cans, brass and metal plates. Its raw and dry sounds became their trademark. The band's first album O Ápice, was recorded in 1987 and produced by Jose Augusto Lemos of São Paulo's electronic trio Chance (see The Sexual Life of The Savages for further info) and released in early 1988 on Wop Bop records.

Vzyadoq Moe has performed throughout Brazil. They played in most of São Paulo's underground clubs and cultural centres such as Teatro Mambembe, Centro Cultural SP, Espaço Retrô, Dama Shock, Projeto SP, Aeroanta, Der Temple, The Clash, Sesc Pompéia amongst others. Their music has also been performed in TV's shows (Metrópolis, Fanzine and MTV). It was reviewed in magazines and fanzines around Brazil, including an article written by Biron Coley for American magazine Spin.

For Colt 45 we chose three distinct moments from Vzyadoc Moe's debut LP. They are the opening track Não Há Morte (There is No Death), a gloomy expressionist post-punk samba delivered by Fausto Marthe's preacher-like vocals over an echo-drenched semi-distorted bass line. Their sonic assault includes elegant distorted guitar riffs, an industrial 'school of samba' tribal dry percussion and other reverberations. The second track included is Desejo em Chamas (Burning Desire), an experimental slow piece with abstract spoken word anti-vocals. the and the third one, O Incerto (The Uncertain), a math dirty-rock with a tight punch reminiscent of Mercenárias punkiest moments.

Divergência Socialista

Formed in 1983, Divergência Socialista is a post-punk/electronic- DADA Marxist-minimal outfit from Belo Horizonte. Led by poet Marcelo Dolabela (vocals, Dada tapes & texts), new wave diva Silma Bijoux O'hara on vocals and various musicians from other underground bands from Belo Horizonte such as Rubinho Troll (Sexo Explícito), Bruno Verner (R. Mutt, Ida & Os Voltas, Tetine), Marompas (Sexo Explícito), Gato Jair (O Último Número), John (Sexo Explícito/ Último Número / Pato Fú), Aleca A. de Alexandria (Albania Berg), photographer Fabiana Figueredo and over the next decades with Délio Esteves, Ana Gusmão, Francesco Napoli amongst others. Divergência Socialista produced one of the most unusual and experimental verbo-sonic-visual combinations of the time, fusing anti-music, disco-not-disco, queer-electropop, marginal poetry, electro-sambas and canções. The band had two classic line ups in the 1980's: a first phase dedicated to text-based anti-music, DADA tapes, noise and other experimentalisms and a second line up more into disco-not-disco, queer avant-pop, atonalism, synth-punk & electro-sambas. In this phase, the band began making use of electronic instrumentation incorporating drum machines, cheap synths, tape recorders, a sequencer and a sampler to their sounds.

Divergência's post-tropicalist sonic assaults were at once experimental, synthetic, queer, noisy, politico-subversive, marginal and intertextual; at times sounding-like a solar cross between early Cabaret Voltaire, Tom Zé, Os Mutantes and May East with a penchant for dystopian electronic landscapes and vocals reminiscent of Kraftwerk, Georgio Moroder, Dee Dee Jackson or The B52's.

For Colt 45 we chose four distinct moments of Divergência's extensive repertoire. They are the tribal post-punk meets DADA music of Fahenheit 451 / Jeanne Seberg and the grenade Casio-driven twisted anti-pop of Colt 45, both cuts taken from their first cassette tape Christine Killer; followed by the luminous disco-not-disco/electro-utopia of Thomas Morus Dub/ Aqui & Aqui and the swaying synth-samba Maysa/Mother 851, both pieces taken from the second tape Lilith Lunaire. Try not not to like them!

Divergência Socialista comes from a prolific underground post punk/art scene that emerged in in the early 1980's, comprised of communal and iconoclastic groups /collectives such as Sexo Explicito, R.Mutt, O Último Número, Hosana nas Alturas, Alma Cyborg, Xiitas, Virna Lisi, Os Contras, Xiitas, O Grito Mudo, Corpo Delito, Crime-Opera, Virus Mundanus, Clay Regazzoni, Sustados Por um Gesto, as well as, experimental filmmakers makers such as Aron Feldman, Cao Guimarães, Patricia Moran, Lucas Bambozzi, Rodrigo Minelli; performance artists and dancers Marcelo Gabriel (Companhia de Dança Burra), Adriana Banana, Roberto Soares and visual artists such as Marta Neves, Pupu, Adriana Leao, Eri Gomes, Didico, Clo Paolielo, Dui, Jimmy Leroy, amongst many others.

Saara Saara

Saara Saara is an electronic duo formed in 1985 in Niteroi, Rio de Janeiro by Servio Tulio (vocals, effects and programming) and Raul Rachid (machines, keyboards and programming). The duo gained cult status in Rio's post punk/electronic underground scene of the mid 1980's alongside bands such as Black Future, Régua, Urge, Kasbah, Raubvogel amongst others.

Saara Saara's atmospheric & electronic cabaret combined synth-pop, tape manipulation, elements of kraut and melodic & harmonic orientalisms with ironic & smart processed vocals. Servio Tulio and Raul Rachid wrote dystopian futuristic-surrealistic electronic tales with titles such as Vírus de Sírius, Eclipse Lunar, Doktor Frtiz and Musik, with influences ranging from artists such as The Residents through early cabaret. The duo produced two brilliant cassette tapes before disbanding in the late 1980's.

Saara Saara reformed in 2004 and after a short comeback they released their first and only album Sucessos Que O Mundo Esqueceu [Hits That The World Forgot] on Astronauta Discos. We chose two distinct moments from them. They are the underground micro-hits X and Carta Corrente, both tracks taken from their first tape Saara Saara 1.

R. Mutt

R. Mutt is an experimental post punk / electronic outfit formed in 1986 by Bruno Verner (from Ida & Os Voltas, Divergência Socialista and Tetine), Karla Xavier (of Akt), Bernardo Rennó (Ida & Os Voltas, O Grito Mudo) and Marcos Barreto Basho (Cuevos) in Belo Horizonte. Making use of drum machines, sequencers and samplers, R. Mutt's dystopian post-punk combined electronic instrumentation, female and male half-spoken/half-sung vocals, folk introspection with dark bass lines and glacial soundscapes. Part of the same post punk scene of groups such as Divergência Socialista, Ida & Os Voltas, Sexo Explicito, Ultimo Número, Hosana Nas Alturas and Alma Cyborg, the band performed in underground bars, clubs and auditoriums, playing shows in São Paulo, Rio de Janeiro, Belo Horizonte & Juiz de Fora in venues such as Complexo B, Crepúsculo dos Deuses, DCE, Icbeu, Madame Satã, Retrô, Sesc Pompeia, Cenário among others.

R. Mutt released two cassette tapes only. We chose three distinct moments from them. They are the industrial atmospheric and improvised dub-landscapes of Versus, followed by A Terça Parte (The Third Part) - a tight synth-driven dark post-punk piece with hysterical vocals and gated drums, following the aquatic dystopian post-tropicalist Peixes (Fishes). All tracks taken from the tape R. Mutt (1986). The group disbanded in 1989 with Bruno Verner later forming Um ou Não & Tetine with artist Eliete Mejorado in the early 1990's and vocalist and keyboard player Karla Xavier, forming the all-female outfit Akt with Sandra Coutinho from Mercenárias.

Individual Industry

Individual Industry was formed in 1987 by keyboard player and Cri Du Chat Disques founder Alexandre Twin. Between 1987-90, ten demotapes were recorded by Alexandre on his own. In 1990 Maurizio Bonito and Lilian Vaz (of City Limits) joined the band and released the cassette tape Apology, following the launch of Paradise included in the compilation Minimal Synthetics - Volume 1 (Cri Du Chat Disques). Their first album Templum Probus was released both in Brazil and in German by Subtronic. The record was well received in underground scenes of Brazil and Europe with some of its songs playing exhaustively in radio stations in Belgium, Portugal and France.

In the mid 1990's vocalist Daniyela Gato joined the band and they put out their second release Ice Water produced by Roberto Verta from Harry.

For Colt 45 we chose Eyes - a dark and icy piece of ethereal electro pop with beautiful nostalgic vocals and a potent contradictory solar and swing(ed) synth-bass. Individual Industry is still in activity, led by Alexandre Twin and Mauricio Bonito in collaboration with guest vocalists. They have released a new album on Wave Records and collaborated with Carine Grieg and Ambrose Reynolds from Liverpool post punk legends Pink Industry.

Ida & Os Voltas

Formed in Belo Horizonte in late 1985 by artist/vocalist Ida Feldman (later also of Alma Cyborg, I love Miami), the daughter of legendary Brazilian experimental filmmaker Aron Feldman, with Bruno Verner (on guitar, casiotone and bass), Frederico Pessoa (bass, guitar and keys) and Bernardo Rennó (drums and casiotone), Ida & Os Voltas were a new wave, synth-pop driven electronic quartet that produced music with casiotones and cheap drum machines. The band gained an underground cult status in Belo Horizonte in the mid 1980's performing in local bars, clubs and festivals. The band also had their music often played on Radio Liberdade. For Colt 45 we chose two of their micro-hits: They are Jovens Raptados (Kidnaped Youth) and Cadê A Embaixatriz (Where is The Empress) both taken from their only cassette tape release Samambaias Voadoras (Flying Ferns) from 1986. The band disbanded in 1988.

O Grito Mudo

O Grito Mudo was a parallel electronic studio-project formed by Bruno Verner in 1985 to produce his own experimental electronic pieces. In 1987 Bernardo Rennó joined the group and the two musicians started a series of improvised live-recordings at Sexo Explicito's music studio at Rua Jaspe located in the traditional borough of Santa Tereza in Belo Horizonte. The duo used an old Yamaha drum machine, a collectively bought Roland SH101 and a CASIO CZ 3000. These recording sessions were made in the early hours when there was no one around in the studio.

O Grito Mudo produced three emblematic cassette tapes combining electronica, dark wave, atonalism and experimentalisms. Their second tape was called Mulata Urbana and was entirely recorded in one these 'unauthorized' recording/improvisation sessions. We chose their homonymous track Mulata Urbana; a synthetic and glacial piece of tropical melancholia from 1987.

Harry

Formed in 1985 in Santos, Latin America's largest seaport city, 10 miles away from Cubatão, one of the most polluted regions on earth, Harry had several different line ups along their trajectory. The first line up with late Johnny Hansen on guitars and vocals, Cesar Di Giacomo on drums, Ricard Krauss Johnsson and Renato Grillo on bass. In 1986 Denise Tesluki joined the band and Harry releases their first EP Caos on Wop Bop produced by Roberto Verta who later would become an official member. With Denise's departure, the band intensified the use of electronic elements by bringing a Poly 800 along drum machines, sequencers and samplers to their music. By 1987 Harry become an electronic band combining elements of synthpop, industrial and minimalism, releasing an acclaimed second album all sung in English entitled Fairy Tales.

For Colt 45 we chose Blood And Shame - an industrial electronic landscape with samples of Denise's vocals. The song was taken from their first EP Caos. Except for a programmed drum machine (an original Linn Drum) all the other electronic instrumentation in Blood and Shame was played in real time by Johnsson and Verta.

City Limits

City Limits was formed in São Vicente, São Paulo by Lilian Vaz (also of Sicilian Unit /Uniglory, Burkina Fasso, Individual Industry) and Paulo Gabrielleschi (also of Sicilian Unit /Uniglory) in 1987. Initially conceived as an experimental duo that made use of found sounds, voices, sound objects and guitars, the band produced notoriously experimental/noise echo-drenched soundscapes in their early cassette tapes.

City Limits performed at the prestigious Festival De Música Nova in Santos, took part in compilations such as Minimal Synthetics V 2 (Cri Du Chat Disques) and had an album entitled First released on German's Subtronic Records from Dortmund. Some years later Fabio de Castro (guitar) and Marcelo Andrei also joined the band for shows and recordings.

For Colt 45 we chose their classic electronic pop Evening- a tight synth- driven dark piece produced by Hansen (of Harry), featuring Lilian's beautiful and melancholic vocals over a programmed synth-bass and distorted guitars.

Bruno Verner Oct 2017

"... it’s certainly only a small piece of a much larger picture of Brazilian music in the 1980s—Verner is careful to note that the scene represented here is one of at least three concurrent movements in São Paulo alone, not to mention what was happening in Rio de Janeiro and other cities. But considering the fact that most of this music was recorded for independent labels that have long since folded, its availability—and impressively remastered sound—in itself is truly remarkable."
Scott Hreha, Pop Matters
"These days, with"
Nitsuh Abebe, Pitchfork