Gang 90 & As Absurdettes is considered to be – along with Blitz – the predecessor of all Brazilian New Wave bands in the 80s.

DJ and journalist Júlio Barroso who had lived in New York decided to launch a band styled after the ones he had known there and the band succeeded after they had taken part in a famous Brazilian Pop Music Festival (MPB SHELL 81) and one of their songs was chosen as a popular soap opera soundtrack.

Julio Barrsoo died in June 1984, but keyboardist Taciana Barros went on to release two more albuns before they finally split up.

artists who took part in the project were:  Júlio Barroso, Alice Pink Pank, Lobão, May East, Lonita Renaux (Denise Barroso), Luíza Maria,Wanderley Taffo, Guilherme Arantes, Lee Marcucci, Gigante Brasil, Herman Torres, Otávio Fialho, Luiz Paulo Simas, Taciana Barros, Beto Firmino, Gilvan Gomes, Paulo Le Petit, Curtis.

download

tracklist:

1- Perdidos na Selva

2- Lilik Lamê

Among myriads of new bands that popped out in Brazil (São Paulo) in the early 80s came along this Voluntários da Pátria (Nation Volunteers) who played a nice going post-punk whose members were all famous names of the post-punk scene in Brazil sometime: Minho K (Verminose, Magazine e 3 Hombres), Guilherme Isnard (Zero), Akira S. e Edson X (Akira S. & As Garotas que Erraram), Thomas Pappon (Smack e Fellini), Nasi e Gaspa (Ira!).

They formed in 1982 by guitarrists Miguel Barrela (ex-Agentss) e Giuseppe Fripp.

This album is recorded by Miguel and Giuseppe on guitars, Nasi sings, Gaspa on bass and  Thomas Pappon on drums. They split up short after releasing it.

download

Tracklist:
01. O homem que eu amo
02. Iô Iô
03. Um, Dois, Três, Eu te amo
04. Nazi Über Alles
05. Marcha
06. Verdades e Mentiras
07. Cadê o Socialismo
08. Terra devastada
09. Resistência Afega (Inédita – Bonus)
10. Iô Iô (Bonus)
11. Verdades e Mentiras (Bonus)
12. Cadê o Socialismo (Bonus)
13. Fúria Brasileira (Bonus)
14. Marcha (Bonus)

download (18 tracks rar)

Various Artists
The Sexual Life Of The Savages
Underground Post-Punk from Sao Paulo, Brasil
2005 (although the recordings date back to the early 80′s)
Soul Jazz Records
size: 78.6 MB

01. As Mercenarias – Inimigo
02. As Mercenarias – Panico
03. Akira S Et As Garotas Que Erraram – Sobre As Pernas
04. Akira S Et As Garotas Que Erraram – Eu Dirijo O Carro Bomba
05. Fellini – Rock Europeu
06. Gang 90 – Jack Kerouac
07. Chance – Samba De Morro
08. Patife – Teu Bem
09. Gueto – Borboleta
10. Nau – Madame Oraculo
11. Chance – Striptease De Madame X
12. Smack – For A Daqui
13. Smack – Mediocridade Afinal
14. Fellini – Zum Zum Zazoeira
15. Muzak – Ilha Urbana
16. Cabine C – Tao Perto
17. Harry – You Have Gone Wrong

tracks

01 Agentss “Agentss”
02 Black Future “Eu Sou O Rio”
03 Akira S & As Garotas Que Erraram “Futebol”
04 Akira S & As Garotas Que Erraram feat. Holger Czukay “Sobre As Pernas”
05 Azul 29 “Cièncias Sensuias”
06 Chance”Samba Do Morro”
07 Fellini “Teu Ingles”
08 Fellini “Funziona Senza Vapore”
09 Ira! “Lá Fora Pode Até Morrer”
10 AkT “Prince No Deserto Vermelho”
11 Vzydaq Moe “Redencão”
12 Mercenarias “Policia”
13 Muzak “Ilha Urbana”
14 Voluntários de Pátria “Io Io”

text from: http://www.manrecordings.com

A strange object surprised music fans in Brazil in 1982. An independent 7“ single, with an obscure cover in black and white where the band name could be read: Agentss. Here were 2 tracks impressively synchronised with the electronic music that was happening at that time in Europe and the USA, from Gary Numan and Fad Gadget to Gang Of Four, ESG, New Order and Liquid Liquid.

It was the first manifestation of a phenomenon that developed during the whole of the 1980′s: Brazilian bands working from the same post-punk references as scenes occurring in London, New York and Berlin. In the following years dozens of releases revealed an invigorating and vigorous generation of bands. From 1982 to the end of the 80s bands like Ira!, Smack, Mercenárias, Muzak, Voluntários da Pátria, Chance, Vzyadoq Moe, Akira S & as Garotas Que Erraram were some of these names – all of these coming from the city of São Paulo.” (read more here)

download

]]> http://postpunkbrazil.wordpress.com/2011/07/16/nao-wave-brazil-post-punk-1982-1988-v-a/feed/ 0 jadsonjr varios_2005_nao_wave_-_brazilian_post_punk_1982-19882 http://postpunkbrazil.wordpress.com/2010/08/31/under-the-southern-sun-3-cds-brazilian-post-punk-gothic-rock-darkwave-19832007/ http://postpunkbrazil.wordpress.com/2010/08/31/under-the-southern-sun-3-cds-brazilian-post-punk-gothic-rock-darkwave-19832007/#comments Tue, 31 Aug 2010 23:39:10 +0000 jadsonjr http://postpunkbrazil.wordpress.com/?p=135 Continue reading →]]> Then I found this goth/darkwave compilation with 48 songs from 48 Brazilian post-punk bands. A certain guy named Ranniere had the ability of gathering all these bands plus a 120-page booklet with bios, links, pics, etc.

“…a tribute dedicated to those bands and projects that for some minutes, hours or days, succeeded in overcoming the feared southern sun…  the resonant eclipse keeps itself alive until nowadays and will keep itself alive always that someone is fond of showing a feeling that many insist on hiding, a dense and emotional melody and someone who’s willing to tell stories that few still insist on hearing…” (translated from the original booklet).

I’m posting the link to the blog Oriani K where it’s originally posted.

Necessary is to say that the tracks are distributed in 3 CDs. The first features bands from 1983 to 1994, the second from 1995 to 2003 and the last from 2003 to 2007.

If you can’t understand Spanish you just click on the word ‘descarga’ under the respective setlists and bingo.

The extra material (booklet) is separately downloadable at the bottom of the post.

Go to Oriani K blog and download “Under the Southern Sun – the chronology of post punk, gothic rock and modern darkwave in Brazil.”

Marina Lima was one of the first Brazilian women to appear in the early 80s playing and singing a new wave based pop music. Before her the Queen of Brazilian rock’n’roll was (and still is) Rita Lee Jones, former Mutantes singer (along with Arnaldo Baptista) since late 60s.

With the most beautiful voice and wonderful tunes she soon conquered not only the rockers but all the country.

Marina showed a unique approach in her ways to make music and soon she was playing on the radios and touring all over Brazil.

This album called Full Gás (1984) is the peak of her post-punk period, but she would go on and on recording and playing to date.

Visit Marina Lima homepage.

Download

Track Listing

01. FULLGÁS
02. PÉ NA TÁBUA
03. PRA SEMPRE E MAIS UM DIA
04. ENSAIOS DE AMOR
05. MESMO QUE SEJA EU
06. ME CHAMA
07. MESMO SE O VENTO LEVOU
08. CÍCERO E MARINA
09 VENENO
10. MAIS UMA VEZ
11. NOSSO ESTILO

Listen to Quarto Mundo on Myspace here. Click the picture to download from Megaupload.

In Brazil, some capital cities are famous for having had truly outstanding post-punk bands. The city of Goiânia is not one of them.

Located in the middle of Brazil it’s only 200 km away from Brasília, the capital city of the country where many bands flourished throughout the 80s.

In Goiania the bands could not be named as such. “They were all filthy hippies” says Jadson, the vocalist and main composer.

Jadson had gigged for 3 years with another local band when he decided to form a post-punk group. In early 1985 he and more two unknown boys started to ‘think’ what Quarto Mundo would turn out to be.

The three guys, Jadson (vocals), Joca (bass) and Barba (guitar) had no credibility among the city rockers who franchised only the progressive rock and jazz fusions.

The mere suggestion of playing a new wave based rock made their peers laugh.

They couldn’t find a drummer because of two main reasons: One:  there were few drummers in town and, Two: No drummer would play with them because they were openly new wavers. In late 1985 they came across Serjão, a drummer and started to play.

They started to write and rehearse their songs in early 1985, but they would only be ready to go in early 1986. As Quarto Mundo started gigging all rock bands in town disbanded or swapped styles.

Quarto Mundo was the first group in the entire state that played ska, rockabilly and post-punk compositions and all songs were theirs.

They recorded a demo tape with 6 songs whose style range from straight forward post punk songs to more elaborate tunes, gothic-like tracks.

Quarto Mundo split up in 1987 when they were in the verge of becoming goth. Joca had formed Restos da Cultura Proibida a bossa nova/post-punk project and Jadson would go on to end the decade singing and performing with Departamento de Testes, an industrial/goth project.

Quarto Mundo was important because they rioted against their local scene, they were the only band in their whole state to be synchronized with the rest of the world, and besides they were not influenced by any local band before them, but they surely influenced all local groups that came after them.

Contact with Jadson: jadsonteacher@gmail.com

download – click on the picture

QUARTO MUNDO homepage

Jadson – vocals

Joca – bass

Barba – guitar

Serjão – drums

After a long absence we’re back with truely an excelent Brazilian band. From São Paulo/SP. I may not have the right of calling them POST-PUNKs , but I surely can call them PUNKS.

INOCENTS are one of the most powerful punk bandas of the 80s.

Formed in 1981 they were Antônio Carlos Calegari (guitar), Marcelino Gonzales (drums) and Clemente (bass) a freshman called Maurício was called to do the vocals.

In 1982 they are called to take part in the album Grito Suburbano the first Brazilian punk rock register.

Until 1983 hey record their first album Miséria e Fome with 10 out of 13 songs censored so they released it as a single with only 3 tracks. At te end of this year they split up as trio (Clemente doing the vocals).

In 1984 they come back with “Tonhão” (drums), André parlato (bass), Ronaldo dos Passos (guitar) and Clemente (vocals, guitar) with a new POST PUNK sound.

This same year the album Grito Suburbano is released in German as Volks Grito.

In 1986, Warner releases a mini-LP called Pânico em SP (Panic in SP).

In 1987 Warner releases their second work Adeus Carne (Good bye flesh) and they start to be played on the radio, but Warner gives INOCENTES up because it considered them ‘hard to work with’.

A third Warner album is released only in 1989, a very confused work portraying rock’n’roll, punk rock and rap. Tonhão and André leave the band and César Romaro (drums) plus Mingau (bass) join in.

In the beginning of the 90s, with little money and few gigs they wander away from punk rock, but a demo tape called ‘O Homem Negro’ is well played at 89 FM radio.

In 1992 comes the almost-unplugged Estilhaços (Shrapnel) album.

In 1994 punk roots come back the “Subterrâneos” (Underground) album

In 1995 the band records the “Ruas” (Streets) released by Paradoxx .

In 1998 they record “Embalado a Vácuo” (Vacuum Packed)

All download links are originally posted on http://punkxhcxoi.blogspot.com/

Pânico em SP (1986) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-panico-em-sp-1986.html

Adeus Carne (1987) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-adeus-carne-1987.html

Miséria e Fome (1988) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-miseria-e-fome-1988.html

Inocentes (1989) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-inocentes-1989.html

Estilhaços (1992) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-estilhacos-1992.html

Subterrâneos (1994) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-subterraneos-1994.html

Ruas (1997) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-ruas-1997.html

Embalado à Vácuo (1999) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-embalado-vacuo-1999.html

Garotos do Subúrbio (1999) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-garotos-do-suburbio-1999.html

O Barulho dos Inocentes (2000) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-o-barulho-dos-inocentes-2000.html

Labirinto (2004) – http://punkxhcxoi.blogspot.com/2010/05/inocentes-labirinto-2004.html

This álbum – NAU – brings us 11 deliciously urban tracks with heavy guitars that shows the metal influences of the guitar player Zique, and gives away to a psychedelic atmosphere that was a little low profile that time.

Female singer Vange Leonel with her beautiful voice and much sensuality guides throughout this record.

The hard atmosphere of this album makes me avoid the term ‘new wave’ to describe it, but in 1986 nobody paid attention to that.

This band (also called NAU) is a one album band, but as a real pearl it belongs to the treasure chest and stands as a witness of the richness of the Brazilian post-punk bands in the 80s

Vange Leonel – Vocals
Zique – Guitars
Beto Birquer – bass
Mauro Sanches – drums

download – click on the cover

Does anyone know it? Brazilian most creative musicians are better known abroad, but I was owing a friend of mine this Tubarões Voadores (Flying Sharks) by Arrigo Barnabé.

One of the most 'avant garde' Brazilian pop acts

A hint: It sounds a lot like Frank Zappa’s songs  either in jazzistic experiments as well as the way he ‘speaks’ the lyrics, but without dirty words, but it’s Portuguese spoken anyway.

The beautifully illustrated artwork is Luiz Gê’s and with the original album came a little comic book (as you can see below in a video) with the scenes to follow the music.

download: click on the cover
original link: Célio Boy Som

visit Arrigo Barnabé’s homepage