Category Archives: 1985

POSTPUNK in portuguese

em português para iniciantes:

Nos anos 80 o rock havia se quebrado em mil pedaços por causa do movimento punk que chegou ao auge com os ingleses dos Sex Pistols em 1976 apesar de ter se originado nos EUA.

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A própria indústria teve de se adequar aos novos tempos. E os novos tempos trouxeram o Heavy Metal por um lado e o Postpunk de outro (não nos esqueçamos do Hip Hop).

Se o Heavy Metal era macho o Postpunk era feminino. O Heavy Metal louvava ao virtuosismo, aos ‘caras’ que ‘tocam demais’ e o Postpunk admirava aos que não sabiam tocar absolutamente nada de seus instrumentos.

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O Heavy Metal tinha uma estirpe que descendia dos grandes guitarristas de todos os tempos e o Postpunk tinha admiração por Velvet Underground, Roxy Music (Brian Eno), Bowie e Iggy Pop.

Uma banda foi um marco histórico: The New York Dolls que simbolizava o fim do ‘movimento’ Glam, mas acabou influenciando Metal e Postpunk e durante os 80s os músicos de rock pareciam travestis graças ao enorme choque que os Dolls causaram no ‘primeiro mundo’.

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Dois livros de Simon Reynolds trazem uma maravilhosa narrativa sobre o Postpunk. Vários livros foram escritos sobre determinada banda e sobre algum vocalista, mas ninguém havia pensado ainda em dedicar um livro ao Postpunk como um movimento, explicar o que foi, como foi e a enorme importância que essa cena teve e tem na música pop.

Os livros são Rip It Up and Start Again: Postpunk 1978–1984 e Totally Wired: Postpunk Interviews and Overviews.

O primeiro é uma lindíssima narrativa onde fica claro que os músicos dessa cena eram estudantes de arte e estavam obcecados com o experimentalismo, futurismo, suprematismo, construtivismo, funcionalismo, etc. ,estavam por dentro de todos aqueles manifestos de arte e eram politicamente engajadíssimos.

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O segundo são as entrevistas que Simon realizou com os artistas antes de escrever o Rip It Up…

E quanto ao aspecto feminino do Postpunk é impossível negar que as mulheres brotaram nessa cena muito mais que em outros estilos de rock. Basta olhar para o Brasil onde Rita Lee era talvez a única representante do gênero e de repente nos 80s vêm Paula Toller, Alice Pink Punk, Vange Leonel, Marielli, Fernanda Abreu, Marina Lima, Marisa Monte e mesmo bandas só de mulheres como As Mercenárias e Sempre Livre.

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Enquanto o rock nunca foi sinônimo de inteligência o Postpunk foi caracterizado pela presença marcante de literatos, gente apaixonada por teatro e poesia, frequentadores de galerias de arte e museus, gente apaixonada pelos beatniks e que transformaram os anos 80 num rival dos 60 em originalidade e criatividade.

No Brasil a coisa toda chegou travestida de New Wave e ganhou a adesão da Rede Globo que não demorou a lançar a banda Blitz no programa dominical Fantástico. Na segunda-feira o país todo cantava Você Não Soube Me Amar.

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Como em nosso país quase tudo termina em chanchada a maioria das bandas New Wave não sobreviveu a dois discos e emplacaram menos de três hits que hoje soam como besteirinha sentimentalóide de adolescente classe média.

Como o próprio subtítulo do livro de Simon mostra essa cena Postpunk é datada: “1978–1984”. No Brasil a banda Gang 90 e as Absurdetes gravou em 1983 e a partir daí surge o Postpunk brazuka.

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O mais interessante em tudo isso é notar que as bandas Postpunk desprezavam o rock. Os punks também diziam que desprezavam o rock, mas se você ouve Never Mind The Bollocks dos Pistols ou qualquer coisa dos Ramones vai perceber que a música dos punks era o mesmo rock, mal tocado, mas era rock.

Os Postpunkers por outro lado fizeram Disco, Jazz, Funk e Reggae. Foram muito mais influenciados pelos negros do que pelos brancos. Ouça qualquer coisa da época, de Pil a Legião Urbana e vai perceber que a guitarra fica lá atrás da música e o baixo assume a posição de destaque. Essa é uma característica do reggae e do dub, o baixo na frente e a guitarra atrás. O próprio movimento Two Tone se chamava assim porque nessas bandas tinham negros e brancos.

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O Postpunk adotou os sintetizadores e o ritmo eletrônico o que o lançou nas rádios e nas ‘discothèques’ colocando-os lado a lado com os funkeiros americanos (e não podia ser diferente já que a influência maior era da música de James Brown). Além do que os postpunkers amavam os krautrock alemão de Kraftwerk, Neu e Can além das bandas industriais estadunidenses e européias.

Enfim o Nirvana lança em 1991 o álbum NEVERMIND, ironicamente quase o mesmo nome do primeiro álbum dos Sex Pistols de 1977: NEVERMIND the Bollocks.

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E entre Nevermind (1977) e Nevermind (1991) muita gente acredita que não há nada, mas há uma década repleta de boa música, inspirada e linda que hoje é conhecida como POSTPUNK.

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A history of postpunk scene in my hometown in the 80s

livro Das Cores ao Século XXI por Jadson Junior

No wonder I’m manic with postpunk! In the 80s I was a vocalist in two bands in my hometown. Now that 20 years have passed I joined with two friends and released our own postpunk history.

Like I say, nowadays our town is home of two bands touring Europe and the USA on a regular basis. They’re The Boogarins and Black Drawing Chalks and no, they’re nothing to do with postpunk, but besides them this city has hundreds of bands, some of them really good.

Since 2000 I’ve wandered the underground clubs, venues, festivals and there they are: The rock ‘n’ rollers playing loud and fast and make me wonder that a history have been developing right here in my backyard.

So I decided to write and release this book. A postpunk book, about me and my friends through the 80s.

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This 2016 I’m writing a version in English and by the end of the year it’ll be on the net as a free ebook.

contact the author: jadsonjr@live.com

free PDF in portuguese HERE

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Books on Post-Punk (Post-Punk Books)

I’ve written a book about POST-PUNK as well, but mine is about the scene in my hometown. I’m coming back to it later.

Now it’s more important a book named RIP IT UP and START AGAIN by Simon Reynolds. Ever heard about?

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Although I’m a fervent reader myself I haven’t read many books lately because I’m going to a Cinema College that devours all my free time, but since october I’ve resumed my old habit of reading.

To tell you the truth I love both physical books and e-books. As to the latter it’s easy and simple just to proceed a Google search, find them in a second and download before transferring to my Kindle.

And I’ve searched a lot for POST-PUNK books, but the great majority are books about a specific band or musician like The Cure, Ian Curtis, so it goes.

There are tons of books about PUNK and many about this band or that musician, but I hadn’t found any single one about POST-PUNK alone, as a whole, before I came across RIP IT UP and START AGAIN by Reynolds.

It’s simply amazing! Reynolds surprised me until the last page, which I feared, because I was in such love with the book that I didn’t want it to end.

But let’s talk about the beggining. The introduction tells it all. It’s not necessary to go further. You read the introduction alone and everything there’s to say about POST-PUNK is there.

See:

“When I got into the Pistols and the rest, at some point in the middle of 1978, I had no idea that this was all officially “dead”.”

“What’s weird, as I recall now, is that I never bought old records during that period. Why should I have? …because there was no time to look back wistfully to something you never lived through. There was too much happening now.”

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True, same here in the the backlands of Brazil.

It’s definetely THE book when it comes to POST PUNK.

Funny thing is Reynolds never mentioned The Cure, Bauhaus or Siouxie Sioux and the Banshees. Let alone The Smiths. But I haven’t missed them and you probably won’t either.

He picked up some cities in UK and USA and showed the approach they had and even wrote a lot about each record and some important tracks as well.

For me it was the greatest find I’ve ever done on the net.

 

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.

It’s hard to find it so here’s the full album on youtube:

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

QUARTO MUNDO

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Listen to Quarto Mundo on Myspace here. Click the picture to download from 4shared.

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: jadsonjr@live.com

or facebook

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QUARTO MUNDO homepage

Jadson – vocals

Joca – bass

Barba – guitar

Serjão – drums

INOCENTES – Brazilian punk/post-punk in the 80s/90s – DISCOGRAPHY

….LINKS UPDATED

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)

DOWNLOAD discography —> HERE

Thanks MURO DO ROCK

Tubarões Voadores (Flying Sharks) 1984 by Arrigo Barnabé

LINK UPDATED 2016

From distant 1984 comes this Brazilian cutting edge all-time masterpiece.

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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

visit Arrigo Barnabé’s homepage

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