Guilherme Almeida’s solo project, Electric Lofi Seresta, is releasing his third album: “End of Decade”.
Consisting of 12 home-recorded songs, the album reveals a pessimistic look at the end of the first decade of the 21st century. Songs such as “Western World”, “Hate Your Post” and “Fake News” are, as Guilherme puts it, in the air. “Social network is the most formidable subjectivity control tool ever created because it’s affectionate – fake news is a way to our hearts“.
Recorded in less than a month at his home in Rio de Janeiro, Guilherme used the same pattern of stripping the song bare; “If it remains a good song despite the effects and pedals, it is a true Electric Lo-Fi Seresta song“.
In 2015, ELFS released its first album “White Nights” (via Dufflecoat Records) and later “Interstellar Motel Radio” (2017) by Brazilian NapNap Records. “End of Decade” comes out in digital version and a limited print on picture CD.
Guilherme is known in Brazil for his other band, The John Candy. He is also a Philosophy professor in one of the many Brazilian Universities that are seeing their Governmental Fundings being cut. The photo in the album cover was taken during a student’s occupation in 2016. “Some students asked me to do a show at the occupation to collect food for employees who were 6 months without payment. It was a remarkable day in my last decade.”
“Indie” rock made in Brazil and sung in English?
It’s the late 80s in Brazil. We were voting for President for the first time since 1962. The boom of the first wave of Brazilian rock bands singing in Portuguese was declining.
Some teenagers were listening to something else; ears connected to underground sounds, challenging music coming from the US, Australia and Europe. Caetano Veloso and Bossa Nova were not the references for these youngsters.
No internet, no touring networks, mainstream media telling they could not sing in English. Even pressing CDs was hard work. Despite all difficulties, a creative and trailblazer music scene flourished all over Brazil. More than 3 decades after the first recordings, this scene remained underground.
“Guitar Days” is a documentary that throws light on the efforts of these Brazilian bands to create a scene, using DIY tactics and surviving money-consuming productions. Together with Brazilian bands you probably never heard of, there’s also amazing opinions from Mark Gardener (RIDE), Stephen Lawrie (THE TELESCOPES), Thurston Moore (SONIC YOUTH), Everett True and other “gringos”.
Most of the bands pictured in the documentary remain completely unknown to Brazilian audience and even to specialized local music press but it’s a sure thing to say that, without these pioneers, Brazil would never have an independent scene. Bands like Pin Ups, Second Come, Killing Chainsaw, brincando de deus, Low Dream, Pelvs, Garage Fuzz, and many others, paved the way to Los Hermanos, CSS, Boogarins, Fresno, Gloria and other successful, Portuguese and English singing acts in the late ’90s and the ’2000s.
“Guitar Days” is a compilation with some of the bands shown in the documentary, both old and new school. Released on a limited CD version with 20 bands, the digital version has 07 bonus tracks. Some of the tracks are exclusive to the compilation, recorded only for the documentary: Adriano Cintra, Twinpines, Câmera, The John Candy, PELVs, Mudhill, Lava Divers, Second Come, Hateen, MQN, Maria Angélica Não Mora Mais Aqui. On the digital version, exclusive tracks by Old Magic Pallas, Shed, Loyal Gun, Garage Fuzz, Winter Waves.
The movie is being shown in Cinema Festivals around the world and has conquered some prizes so far.
* Best documentary – Festival Premios Latino del Cine y la Música/Marbella, Espanha 2018
* Best Direction in a Documentary – Festival Premios Latino del Cine y la Música/Marbella, Espanha 2018
Early Morning Sky‘s first music video is for the song “If I See You Again” from their debut EP of the same title, released in April, 2018.
Directed by Elisa Oieno (from São Paulo’s band Antiprisma), the video features Joyce Guillarducci, same girl from their EP cover, wandering through streets in their hometown São Paulo, shot with a Nouvelle Vague angle.
It may be difficult to follow but there were some exciting new singles out on midsummer madness in the last weeks.
Here’s a sum-up:
Iorigun – Wasting My Time
After 2018′s powerful “Skin” EP, with the track “Fighting to Forget” doing well on several playlists (here, here, and here), this four-piece from countryside town Feira de Santana, in the hot Brazilian State of Bahia, has released the first single off of a 4-track Ep due to be completed in the following months. The EP is going to be titled “Wasting…” and it’s going to “be a compilation about relationships, information/misinformation and the different digital caves we live in today”, as stated by the band. Sounding less darkwave and more Strokes-y, its another energetic song by Iorigun.
Lautmusik – Singalong
Politics in Brazil are going from bad to worse, with a complete idiot being the President. So it’s easy to understand why artists are voicing out their concerns. Lautmusik in recording what will be his 3rd album and “Singalong” is the second single to emerge. Lyrics are about people who jump on the bandwagon and singalong without knowing what they are talking about. B-side is “Flight of The Flamingo”, a live track recorded in 2016 for a compilation titled “Coletânea Vol. 11″.
Slowaves – Here She Comes
Another synthgaze track by this duo from Belém, in the Brazilian Amazon. Recorded in May 2019 at their home studio, this is the first song on a promissed 4-track EP. “Here She Comes” was produced, mixed and mastered by Dennis Guedes, from Rio de Janeiro band The Outs.
Hatchets – Summer Jam
Hatchets are a very peculiar group of individuals. In 2013, within months of existence, they played a huge festival in Brazil called Planeta Terra, in the same stage as Blur, Travis and Lana Del Rey. And that was it. In 2014, they put out singles with electronic label/party Gop Tun and then vanished. In 2018, a new music video and now “Summer Jam”, a Hacienda/ACR psych-tronic with only one remaining individual from 2013 formation.
Lombroso – Bruno Manser
From the same vault, Lombroso released their 2nd single: “Bruno Manser” is a 20+ minute ambient manifest about the need to protect our rain forests. “Guava Jisas” is about the absurdity of having a public employee, a National Minister, taking decisions based on her religious faith.
Regis Martins & Cia. Fantasma é um projeto do guitarrista e vocalista do Motormama, Régis Martins (na foto acima, ao centro) junto com Gisele Z. (vocais) e Alessandro Perê (teclados). Ou seja, 3/5 do Motormama . Deppois do EP “Ondas Curtas” (2015) e do single “Bem Vindo Irmão Caveira” (2018), Régis lança seu 2º EP, “Atlântico Blues”.
Com quatro canções de timbres lo-fi e teclados vintage, duas são 100% inéditas: “Eu, Você, o Cosmos e Nada Mais” e “Bruxaria”; e as outras duas são versões remasterizadas de singles anteriores: “Sacramento” e “Bem Vindo Irmão Caveira”. Conversamos com Régis para entender melhor as diferenças entre Cia Fantasma e Motormama.
- Como você divide entre o que é seu e o que é para o Motormama?
Régis: Para manter uma distância segura do trabalho do Motormama, a Cia Fantasma investe em timbragens que tem mais a ver com estilos como tecnopop e até mesmo o hip hop dos anos 80. Tudo isso gravado de forma minimalista e quase ao vivo.
Quais as principais diferenças nas regravações de músicas que foram lançadas pelo Motormama?
Nos últimos anos, ouvi muita coisa ligada ao dream pop e achei a dinâmica interessante. Claro que quando vamos para o estúdio, as coisas costumam ir para outros caminhos. Mas no final das contas, nos divertimos muito.
Por que “Atlântico Blues”? Influências oceânicas nas músicas?
O título do EP foi “tirado da cartola” no último momento, graças aos versos mezzo-ensolarados-mezzo-filosóficos da canção que abre o EP ‘Eu, Você, o Cosmos e Nada Mais’.
Onde foi tirada a foto da capa?
Tem muito mais a ver com uma questão geográfica, de estarmos aqui no Atlântico Sul, do que propriamente uma referência praiana. O disco não tem nada de praiano. O termo ‘Blues’ me veio a cabeça depois de ver o titulo de um livro do Jack Kerouac que achei excelente: “Mexico City Blues”. Claro que o titulo também tem a ver com a foto da capa, que eu tirei durante umas férias passadas na Praia Grande, Baixada Santista.
Passei minha infância e juventude ali no litoral Sul de São Paulo. Faz parte das minhas memórias e de minha formação. Além do mais, achei bonito fazer uma espécie de homenagem a capa de um dos discos que mais gosto do Neil Young, “On the Beach”.
Ouça “Atlântico Blues”
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