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

download link updated (march 2016)

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 download link HERE.

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..

Thanks to Ranniere himself who got in touch and updated the link 🙂

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.

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

Track Listing




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



Jadson – vocals

Joca – bass

Barba – guitar

Serjão – drums

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


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


NAU (1986) by NAU


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

Tubarões Voadores (Flying Sharks) 1984 by Arrigo Barnabé


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

tubarões 2

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.


visit Arrigo Barnabé’s homepage

tubarões 3

What post-punk mean in this blog