Lautmusik is releasing their 2nd album entitled “Juniper” today.
It will be available in digital and CD formats.
The album features 10 new tracks, produced by brazilian Eduardo Suwa that worked with the band in their previous album, “Lost in the Tropics” (2011).
Cover art was designed by Marcos Rudy who works for Marvel and DC Comics and often includes images linked to Lautmusik in Batman/Superman and Spiderman comics (see pictures below).
In 2011, Lautmusik opened gigs in Brazil for Radio Dept, A Place to Bury Strangers and was selected by Robert Smith himself to open The Cure´s show at São Paulo. “Juniper”, the new album, started being recorded in 2013 but soon Alessandra (vocalist) moved to the US to study. The band continued recording until Ale came back, in 2015, to finish the album.
This new album sounds like a mix of Siouxsie & the Banshees singing over a M83 or a speeded-up Mogwai instrumental. Have a try:
Digital album is available at https://midsummermadness.bandcamp.com/album/lautmusik-juniper (hi-res mp3, flac and aiff – streaming and name your price digital sale)
http://mmrecords.com.br/lautmusik (streaming and three free tracks at 192 kbps)
Spotify – https://open.spotify.com/album/2ZOpWimoRlUqRNmw8mBj2k
Google Play – https://play.google.com/store/music/album/Lautmusik_Juniper?id=Breky7xccg3mw5jpqpnfbk2icou
1994 was a magical year in Fortaleza, northeast of Brazil. An american US Air Force base during the WWII, the city lives a musical efervescence with guitar bands like Dead Poets, Velouria and Dago Red. Mário Quinderé fronted Dead Poets, a Echo-and-the-bunnymen-inspired teenage band. After one demo tape and a split album with Velouria, Dead Poets ended in 2000.
Twenty years later, now living in Rio de Janeiro, Mário Quinderé puts out his solo album with 8 songs “Songs From The Night Shift”, his first release under the name Fish Magic. The band’s name comes from a paint of the swiss painter Paul Klee (1879/1940) and the record breaks a 10 year hiatus since its last recordings.
Working as a journalist in a daytime job, Mario seized his nights to arrange these songs, recording all instruments and risking on unusual instruments like flutes, glockenspiel and wurlitzer. There’s hope in 80′s post punk music like the opening track “In a Heartbeat”, there’s solar joy in “Pristine”, angst in the noisy “The High Hand”, juvenile love in “Moonrunner”, the passing of time as folk song in “Where the Summer Nights Go Blue” and also college rock vibe in “Season of Wonder”.
The old friend Regis Damasceno (from brazilian bands Mr. Spaceman, Cidadão Instigado, Marcelo Jeneci) played bass and produced the album. Their partnership is reassured in the remake of a 20 year old song “All For Nothing”, a track from Regis old band, Velouria, here in a new minimalist version with piano and strings.
Closing ”Songs From The Night Shift”, an electronic ballad “Ether” features brazilian chanteuse Bárbara Eugenia.
Released only in digital format, “Songs From the Night Shift” is available in streaming
Fish Magic - iTunes - http://itunes.apple.com/us/
Fish Magic - Rdio - http://rd.io/x/Qj4XdVo/
Fish Magic - Deezer – http://www.deezer.com/album/9906454
Fish Magic - Spotify – http://open.spotify.com/album/6zT2C4kygeXLfecp3MbVp3
Listen, support and buy Fish Magic here
My Magical Glowing Lens started as a one-girl-band. In the end of 2013, Gabriela Deptulski, recorded her eponymous EP with 4 songs. It’s opening track “Dreaming Pool”, with distorted drum & bass, full of guitar and vocal layers, reminds us of a 60′s psychodelic combo. Before any more words, watch this:
The other three songs go on the same flow: “Summer Nowhere” starts on a ultra-distorted guitar drivell as the drums kicks in changing radically its melody to clean and mellow. Home recording charms are audible in “I Will Never Find” as Gabriela whispers and laughs. “All Right” is a cross of Tame Impala and Sonic Youth circa “Experimental Jet Set”.
With so many good references and impressive home recording, Gabriela’s My Magical Glowing Lens gets brazilian music press attentions: “shoegaze with dream pop lightness, a space chill-out” wrote Trabalho Sujo; Brazil’s biggest internet portal wrote: “astonishing psychodelia that, if listened with close eyes can slow your heart beats”.
Closing 2014, MMGL’s recorded “Windy Streets” with New Yorkers The Post Nobles. At the same time, Gabriela recruited Pedro Moscardi to play bass and keyboard; Raími Leone to guitar and Rafael Borges to drums. Now she’s on the road playing her first full band gigs around Brazil. Her first EP is out on cassete tape through Honeybomb Records, while the CD version includes “Windy Streets”.
Finally available, The Gilbertos´ latest album cassete version.
Featuring 10 songs, lyrics sleeve and a download code for hi-res digital files. “Um Novo Ritmo Vai Nascer” cassete can be bought at https://midsummermadness.bandcamp.com/album/um-novo-ritmo-vai-nascer
It’s a limited edition cassete tape of 108 copies. So, buy yours before it’s too late.
The Gilbertos‘ fourth album was released last thursday: Um Novo Ritmo Vai Nascer (translates to A New Rhythm Will Be Born) is Thomas Pappon’s new studies on the mix between brazilian sounds and european rock. This new record features 10 new songs recorded in London, where Thomas lives and works, and São Paulo, where most of his musical partners live.
Thomas used to play in several bands in São Paulo during the 1980′s: he played drums for Smack and Voluntários da Pátria, and later composed most of Fellini‘s songs in the 3 seminal albums. All these bands were brought to international attention in 2005 when SoulJazz Records released “The Sexual Life of the Savages”, a compilation of underground brazilian post punk bands. Living in Europe since 1992, Thomas organized his solo songs under The Gilbertos, a name he chose to explain the simplicity and the blend of brazilian and european sounds.
The Gilbertos’ first album came out in 1999, through midsummer madness. Os Eurosambas 1992-1998 are a collection of compositions Thomas wrote during his first years far from Brazil and from his former band, Fellini. This record was received in Brazil as the missing link between post-punk and the new brazilian rhythms. Local bands such as Chico Science & Nação Zumbi, Planet Hemp and Mundo Livre always mentioned Thomas’ Fellini as their main influence.
After a relative acknowledgement of Eurosambas, Thomas and Cadão reunited Fellini for one last record: in 2001, their 5th album, after a decade, Amanhã É Tarde (translates to Tomorrow is Late). They played some festivals in Brazil, including an opening act for White Stripes and Super Furry Animals at Tim Festival 2003. But, after that, as Thomas always emphasizes, nothing happened and Fellini disbanded again. Ironically, their first record, released in 1984, was titled “O Adeus de Fellini” (Fellini’s Goodbye). A common step in their careers.
Three years later, in 2004, The Gilbertos’ Deite-se Ao Meu Lado was released, again through midsummer madness. The album features 10 songs, including a special appearance of Sean O’Haggan (from Stereolab) in the track “Dia D”, as well as Akira S, former Akira S e As Garotas Que Erraram helping on production. Deite-se… sounds more brazilian, with bossa nova and samba defining the path to the songs.
The turning point to rocker songs came with the third album, À Noite Sonhamos (Tonite We Dream). Thomas described it as “inspired in 70′s rock and adolescence”. This album brought Thomas to Brazil for unusual 4 shows; he always recorded at home, in his bedroom or garage in London and then contacted brazilian friends to help. Putting a band together was never easy, and rare gigs were always a holiday fun. Whenever Thomas comes to Brazil to visit family or to work, there’s a chance of an album coming out.
And that’s exactly what happened in the southern summer of 2014: Thomas was sent to hometown São Paulo for some working months and saw the chance of putting out another collection of songs that have been being recorded for the last three years: Um Novo Ritmo Vai Nascer. And this new rhythm fuses electrofolk with european post punk and “a good mix of rock and MPB from late 1970′s that was lost“, as Thomas explains. The Gilbertos’ fourth album features again 10 songs, and this time, with other 6 helping hands: live, the band has a steady formation that includes Lauro Lelis (ex Tom Zé drummer), Ricardo Salvagni (former Fellini bass player) and Astronauta Pinguim on the keyboards (picture above).
As a sign of the times, this new album is released only in digital and cassete tape. The digital album is out here, at midsummer madness, for free in 192 kbps mp3, and in higher resolutions here (wave, aiff and mp3 320 kbps). The cassete version is a 108 copies limited edition and will be available in late january 2015.
Listen to all The Gilbertos’ albums for free: mmrecords.com.br/the-gilbertos
Buy digital versions of The Gilbertos’ albums: midsummermadness.bandcamp.com
Buy digital versions of The Gilbertos’ albums at Amazon: Eurosambas 1992-1998 and Deite-se Ao Meu Lado
Buy CD from The Gilbertos: midsummermadness.bandcamp.com/merch
In the last few months we were delighted to enter some bedrooms all over Brazil and discover some nice new music. The latest is Frabin, a 20 year old one-man-band from Florianopolis, an idyllic island in the south of Brazil. Frabin is Victor Fabri’s alter-ego. He has just released a 5 song EP entitled “Selfish” (quite apropriate) where he plays all the instruments. Of course he does: you don’t call people into your bedroom to record music but for other better purposes.
“Selfish” was mastered at the The Ranch Mastering, where “Humbug” (Arctic Monkeys), “King Of The Beach” (Wavves), “Plastic Beach” (Gorillaz ) and “Thank You Happy Birthday” (Cage The Elephant) were polished.
The other bedrooms are scattered all over Brazil that we visited: two in Rio de Janeiro, the bossa-nova meets lo-fi from Luisa Mandou Um Beijo’s guitarrist, A Última Peça and the twee + 80′s jangle pop of The Electric Lo Fi Seresta. First on the series was My Magical Glowing Lens, another dreampop-psychedelic bedroom from Colatina, southeast of Brazil.
We are not K Records but we do love them!
In Brazil, seresta is a late night viola party, usually played in the countryside, under the moonlight, with people lazying and drinking some cachaça. It’s never electric, sometimes very lo-fi. But Electric Lo-Fi Seresta is a solo project by Guilherme Almeida, guitarist in The John Candy. Midsummer Madness is putting out his second compilation of songs, entitled Lunare EP.
Lunare EP features 8 songs, four from two recent singles (one of them also released in cassete & CD by Custom Made Music, from Virgina, US), one live version of “Noites Brancas” and three exclusive and new songs for this EP.
Crazy about 80′s janglepop, chorus & reverb drenched songs, minor chords from bossa nova, intuitive K Records lo-fi and Durutti Column, Guilherme keeps on recording bedroom twee and we decided to put this compilation out. Initially, a song called “Your Favourite Sarah Song” was the hook… but after a first listen, you can see that there’s much more on ELS’s tracks. A certain space, a kind of imperfection that makes the melodies even more fascinating.
Lunare is available through midsummer madness only in digital. You can listen and download lo-res version in the band’s portuguese page here, or, you can buy hi-res version of the EP in our bandcamp.
Almost all the songs have videos, try watching the playlist below:
A Última Peça (The Last Play) was to be just an archive of songs written by Fernando Paiva, guitarist at Luisa mandou um beijo. After becoming father of 2 wonderful children, and with no time left to record his songs, Fernando decided to register a few in homemade recordings.
But this simple register became bigger and bigger…. 2nd guitar, bandolim, programmed drums, bass and a simple personal archive became a band. Next Act? He called friend Dimitri (from Diahum) to put vocals and Dimitri brought together his partner Alexandre Hofty. Alexandre mastered and programmed drums. As a result, “Ato I” A Última Peça first EP is out. Delicious and unpretensious pop, with brazilian feel and lofi twee internationalism.
Shoegazer-noise quartet Loomer is shooting in southern fields of Brazil their next music video, “Dark Star”. The song, inspired by a 1974 John Carpenter movie, “Dark Star” will feature scenes recorded in a farm at São Lourenço do Sul, Brazil.
Richard La Rosa, Loomer’s guitarrist, is directing the music video as he already did for earlier works from his own band and other friends bands. He says that “there will be no direct relation to Carpenter’s movie, just some spacey, star night feelings”. Loomer plans to release four other videos from their debut album, “You Wouldn’t Anyway”.
You can now buy the digital version of “You Wouldn’t Anyway” in one of these stores: