Churrus got together in 2004 in Belo Horizonte, Brazil, when Tulio Panzera, Bruno Orsini and Luiz Flavio Neves met. Later, Matheus Lopes (Guitar), Branco (Bass), Fabrício (Drums) and Júlia (Keyboards) joined the band for their first live performance. The line-up continued to evolve when, in 2005, Panzera moved to England. Fred Dutton, Richard Jones and Simon Watkins all came on board.
Back in Brazil in the middle of 2006, Panzera brought friends Matheus Lopes, Bruno Martinho, Peppo and Bruno Orsini back into the fold to record the first Churrus’ album, The Greatest Day. The American band Pernice Brothers wrote some special comments about the record.
In 2010, Túlio Panzera, Matheus Lopes, Bruno Martinho, Paulo Souza e Luis Couto gathered to record the second album, entitled Monotone. The album is more dense and live sounding. Songs were written by all band members, and references still point to indie rock, lo-fi and shoegaze. Indie Pages blog wrote about it:
In 2013, Churrus put out their 3rd album, entitled Transcontinental, a direct reference to Panzera’s constant travels between South America and Europe. The record has 15 tracks, sounding more confident than before, with riffs and melodies tending to shoegazer and power pop, now a declared preference. Two original guitarists, Panzera and Matheus, now have company: Luis Couto adds a 3rd guitar to Churrus songs.
Motormama was born from the ashes of Motorcycle Mama, a band that survived the first decade of brazilian indie scene in the 90′s. Régis Martins and Joca stayed in the band while the original drummer left. In the end of 1999, they called new friends to a new atempt, Motormama, a blend of Mutantes psychaedelia, Neil Young’s folkness and some old garage rock. A demo-CD was released in 2000 entitled Mestiço Rock ‘n’ Roll (mm55, midsummer madness). In 2002, Motormama toured the country, what is not an easy thing to do in Brazil. Cities like Belo Horizonte, Brasília, São Paulo and a very important appearance at festival Bananada in Goiânia where followed by positive reviews and some fans.
In 2003, they released their 1st full album, Carne de Pescoço with 13 songs. Recorded between 2001 & 2002, in their hometown Ribeirão Preto, it was printed on their own label, Kaskavel Musik, and distributed by midsummer madness.
About this record, brazilian music magazine Zero wrote: “Motormama don’t fear agroboys and blends pure rock with powerful instrumentals and smart lyrics. The opening tune, “Adeus Maluco” has Gisele Z’s hypnotizing vocal, and a sharp guitar solo that strikes later. A cheesy keyboard guides the song “Rota Caipira (Anhanguera Folk Song)” and a shy guitar with loads of distortion appears in “Cosmorama”. Also remarkable are “Sujeito Honesto”, “Mercado de Pulgas” (kinda bluegrass), the power-pop driven “Me enterrem em Assunción” and the rockabilly flavour in ‘Saliva Quente.’“
In 2006, Motormama released its 2nd album, A Legítima Cia Fantasma, a joint-venture release printed by Kaskavel and midsummer madness. Régis Martins (guitar, viola and vocals), Joca (bass and vocals), Gustavo Acrani (keyboards), Gisele Z. (vocals) e Ricardo Noryo (drums) delivers more 14 songs full of country a la Stills, Nash & Young soaked on Pixies’ feedback. Brazilian Rolling Stone magazine scored this album with 4 out of 5 stars.
Three years later, the 3rd album came out: Aloha Esquimo, recorded again in their hometown. From this album, the music video for “Preciso Me Vingar Oh Babe” made the band expand its contacts outside Brazil and, for the first time, they played Pop Montreal Festival in Canada. In 2013 the band released a 7″ vinyl with 2 songs and participated in the 2014 edition of Primavera Sound Festival, in Barcelona, Spain.
After 15 years, 3 albuns, many EPs, songs and shows, Motormama carries on, sometimes more as a friendship blender than a band, as many good groups in Brazil do. It’s our lucky that their friendship results in so many good songs.
You can buy their 3rd album here.
Motormama – Aloha Esquimó
Motormama – A Legítima Cia Fantasma
Motormama – Flores Sujas no Quintal
You can listen and download Motormama’s songs here.
Ampslina formed in Recife (northeast Brazil) in the middle of June 1995 by a group of friends. Luciana (vocals) and Alcides (guitars) met while studying Architecture at University (UFPE) . Henrique (bass) is Alcides brother, the other members were friends and neighbours invited for the adventure. In that time, Luciana was 17, Alcides, 20, and Henrique was 18 years old. The brothers used to play together since the middle 80′s but the idea of a project influenced by Mutantes happened only in University time.
Later in 2004, they rejoined to play at a friend’s party. Surprisingly, some friends asked them to play their own songs. After that, they decided to reunite the band. Ampslina reborn with new purpose and formation. In 2005, Diego Araújo (Sweet Fanny Addams‘ bass player) joined the 3 original members to play drums and so did Lorena in violin and vocals later in 2006. The present formation was completed when Ricardo entered to replace Diego and most recently Rogério assumed programming and guitars after “Curva e Linha” EP recording.
This new Ampslina are still dense, with harmonic confluence between violin and guitar, sweet voices, strong rhythms and electronic effects. After the gap, they feel themselves more mature and musically sensitive, this could be naturally perceived through lyrics and melodies of their new songs. Besides friendship, technological facilities and interfaces such as internet and recording softwares, new members with different influences and tones stimulated A&L to perform and write songs.
Luciana says, “After releasing ‘Curva e Linha’ we didn’t know what or how would be the audience feedback but in fact we trusted the songs. We knew that we had in our hands the result of our differences and not simply a product of any external formula adopted for us.” Actually, there are many differences. Alcides and Henrique’s father is a popular songwriter in Frevo (a tradicional rhythmn from the northeast Brazil). Despite that, both brothers enjoy blues and classical rock. Rogério likes samba-rock and such as Luciana and Lorena also likes alternative rock. But both girls also enjoy fusions, electronic music, jazz, and so on.
Kind of a Mangue Beat, ain’t that?
Could be… but not repeating formulas, like Luciana said: “If Recife has a sound considered multicultural, so we fit where music is completely free to float, where we can mix tones, sound effetcs, to experiment our passions and feelings. But regional rhythms and aspects are not our references, it wouldn’t sound true. We were raised by the concrete but we could not deny our popular culture. It is just a matter of life experience.”
“Curva e Linha” ‘s recording started in March 2007 at Pierre’s studio with a little help from Guilherme Gadelha on keyboards, samplers and effects. It was finished in June 2007 at Proclo’s studio with the help from another friend, Enio Damasceno (from local band Mellotrons) playing synths and eletronic effects. Diego (from Sweet Fanny Addams) helped with mixdown and mastering in a home studio.
In 2008, Ampslina recorded a version of Beatles‘ “Good Night”, taken from the White Album. A brazilian journalist is compiling fan versions from brazilian bands.
In 2008, Luciana left the band. Ju Orange became Ampslina new vocalist and the band build his own recording studio. In this studio they record and relaese the second digital EP entitled “Insone”.
In 2010 Amsplina recorded a version for Yoko Ono’s “Listen, The Snow is Falling”, from the “Wedding Album”. This version takes part on a double tribute album called “Mr Lennon” and “Mrs Lennon” released by brazilian record label Discobertas.
You can listen and download Ampslina EPs at their portuguese page here - http://mmrecords.com.br/ampslina-2/
Various – Porque este oceano es el tuyo, es el mio (midsummer madness / Si No Puedo Bailar… )
South America has long had a pretty decent indiepop scene, though few bands (like Postal Blue and Pale Sunday) ever really seem to get much attention up here. Well, for anyone interested in hearing what’s going on down there, this hour-long collection of songs from all over the continent (plus one from Mexico) would be a great place to start. Most of these bands are new to me, although there were a couple songs that I’ve heard elsewhere, including the best song from Hacia Dos Veranos’s 2004 EP and yet another album track on a compilation from the excellent Luisa Mandou Um Beijo (who I really would love to hear more from!). Other favorites come from the delightfully jangly Amelia and Apanhador Só, the dreamy Lissa and the crooning Coiffeur. Not strictly indiepop, this disc also contains a few electronic songs, most of which I wasn’t too into, although I did like the poppy song from Ondo and parts of Filme’s jazzy composition. Of course, all of these songs are sung in Spanish or Portuguese, but language barriers are no matter for true fans of pop!
by Chris Mac – Indie Pages
CD version is sold out.
Download digital copy at http://mmrecords.com.br/porque-este-oceano/
British website INDIE MP3 wrote about “Porque este oceáno es el tuyo, es el mio”, latin indie pop compilation that includes chilean singer Gepe (pic above). Read it here: http://www.indie-mp3.co.uk/2007/10/latin-indie-pop-porque-este-oceano-es.html
Porque este oceáno es el tuyo, es el mío is the first release from the label Si No Puedo Bailar, No es mi revolución, based in Sao Paulo and Rio de Janeiro, organized by Fernando Paiva (from Luisa Mandou um Beijo) and Rodrigo Maceira. The label focus in latin-american alternative culture. midsummer madness is a proud partner in this first release from Si No Puedo…
Porque este océano es el tuyo, es el mío – VA
Faramalla – El sueño de la casa propia (Chile)
Casan – Javiera Mena (Chile)
Anselmo – Luisa mandou um beijo (Brasil)
Adiós – Amelia (Uruguai)
Mi amigo reno – Lissa (México)
Modelh – RadioGrad (Colômbia)
Namás – Gepe (Chile)
Navidad en los santos – El mato a un policia motorizado (Argentina)
Personal – Ondo (Argentina)
Encapsulados – Modular (Argentina)
Naufrágio – Filme (Brasil)
Qué mala suerte! – Coiffeur (Argentina)
Despertar – Hacia dos veranos (Argentina)
Oeste – Resplandor (Peru)
Pouco importa – Apanhador só (Brasil)
Deja de hablar – Telegrama (Venezuela)
O rei não sabe brincar – Bazar Pamplona (Brasil)
Si no puedo bailar, no es mi revolución is a Brazilian plural collective/label focused on latin independent cultural experiences. Essentially dedicated to music, the project, based in Rio and São Paulo, aims to spread its presence over the literature, the fine arts, the cinema and the graphic design made in the continent. In spite of being an initiative for Latin America marginal art integration, we have precious collaboration from people in Spain and Germany, for example. Our revolution won’t have frontiers.
Luisa Mandou Um Beijo – debut CD with 10 songs and a version of samba-standart Carinhoso. Indie-pop with bossa nova, dadaistic lyrics.
Singing in their native portuguese, they have managed to win my heart completely with their blistering brass section, Flávia’s angel voice, flutes and catchy indiepop tunes which at times remind me of the wonderful Lush, especially in the song Bauhaus Today.- INDIE MP3 / UK
Most of the songs fit in perfectly with Heavenly or Language Of Flowers, featuring high-pitched girl vocals, clean and jangly guitars (…), and lots of trumpets (and even some flute)! (…) this is quite a fine piece of pop from the other hemisphere! – INDIE PAGES / US
4th album by Pelvs, with 9 songs, all sung in english. Four guitars, keyboards and many unusual brazilian percursion instruments. A bit of Yo La Tengo circa “And then nothing…” here and Primal Scream’s Screamadelica there. Limited copies.
Awarded Best independent brazilian album in 2006 by No.Minimo website, Top 5 independent brazilian album in 2006 by Tramavirtual website/ podcast and 4 our of 5 stars at brazilian Rolling Stone magazine.
CD Version is now sold out.
You can buy digital version here: http://midsummermadness.bandcamp.com/album/anotherspot