Gang 90 & As Absurdettes – 1981 – Perdidos na Selva – single

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 BarrosoAlice Pink PankLobãoMay EastLonita Renaux (Denise Barroso)Luíza Maria,Wanderley TaffoGuilherme ArantesLee MarcucciGigante BrasilHerman TorresOtávio FialhoLuiz Paulo SimasTaciana BarrosBeto FirminoGilvan GomesPaulo Le Petit, Curtis.



1- Perdidos na Selva

2- Lilik Lamê

Voluntários da Pátria (1984) Voluntários da Pátria

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.


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)

The Sexual Life Of The Savages – Brazilian Post Punk – V.A.

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

NÃO WAVE – Brazil Post Punk 1982-1988 V.A.



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:

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)


Under the Southern Sun 3 CDs – Brazilian post punk, gothic rock, darkwave – 1983/2007

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.”

Full Gas (1984) Marina Lima

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.


Track Listing



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:



Jadson – vocals

Joca – bass

Barba – guitar

Serjão – drums