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about following through with an idea or direction for each track, so it had a freedom in that we tried lots of ideas, but structured in that we kept focused and moved forward with each piece, so we didn’t get lost.� INTERVIEW WITH WAYNE ADAMS, MARCELO DOS SANTOS, MARIANO DE MELO, AND DOUGLAS LEAL BY CHRISTOPHER J. HARRINGTON wo becomes one for Brazil’s the place where humans lay vertiDeafkids and London’s Pet- cal to the stars. brick, and thus, Deafbrick, the omnipresent, the culmination of “I think that both bands point to two exploratory bands meeting in a ‘futuristic’ scenario in their own the center, a third eye navigating a way,� Leal continues. “In the sense path towards ascension. Released of exploring new sonic and imagSeptember 4 via Neurot Record- inary possibilities that are evocaings, the quickly recorded and tive, and in the sense of the traninfinitely revealing new album is scendental in relation to time and a journey through five minds, two spirit.� bands, and one central passion: the expression of living not here, The ten songs on Deafbrick are a not there, but everywhere. cubist plant that grows greener and leaner each day. They form a “It was like a culmination of ideas spiraling echo, a transplantation and experiments coming from of mind and matter. The sounds all of us,� says Deafkids’ Douglas are as free as nature, and as strucLeal. “I believe we were guided tured, too. They may sound loose, by feelings and sensations, vibes but are scientific in essence. and landscapes, and pulses and rhythms.� “It was a very focused session, as we only had three days to write and Which is exactly what songs like record the record,� says Wayne Ad“Maquina Obssessivo-Compulsiva� ams, who along with Igor Cavalera, and “O Antropoceno� sound like: forms Petbrick. “It was definitely
e electronic tracks, Douglas’s simultaneous use of futuristic delays and ‘Eastern’-sounding guitars, Marcelo's [dos Santos] distorted bass work, or me and Igor interacting percussively, when we sum all of our efforts together, it becomes this living musical organism, pointing in different directions.�
And yet, lost is what one gets when experiencing the album in full. Songs conjoin with each another to The voices and scattered shouts form a pattern that extends into a heard throughout the record maze. An overture into an overture, are in some ways sparse, and in an organic drive through a land of other ways, dominant. It is their heat and breeze. There is as much abstraction that sets them as esdynamism as there is counter-re- sential to the very nature of Deafaction. It is the work of exploration brick, a living, breathing organism and trust. In many ways, the two is unleashed. De Melo says that bands mirror each other precisely. in Deafkids, the conscious choice The team-up is seamless, as a car- to limit the verbal content makes avan of imagination swarms over them that much more relevant and the listener. The mind is revitalized. powerful. In Deafbrick, they come It is computerized by technicality, off as monsters. only to be dematerialized by the album’s earthen might. “The same goes for the musical and visual information,â€? de Melo adds. “For us, writing music is a communal “We tend to think there's a certain matter,â€? notes Deafkids’ Mariano sense of corporal heat which is rede Melo. “A communicational ef- quired for it to refuse stagnation as fort, with the industrial part coming well, and as such, we think it’s relfrom the aesthetic specificities and evant to attempt to build anything techniques used, and combined that can make such heat erupt.â€? with the more organic grooves and dirges we also love to explore. The volcano explodes on Deafbrick, That is something we clicked on a fluxing amalgamation that resince the beginning. Whether it’s wards your interest as it explores Wayne's surgical construction of the regions that few dare. đ&#x;’Ł đ&#x;’Ł đ&#x;’Ł
PHOTO BY FELIPE PAGANI
PHOTO BY TAYLOR JEWELL
68 NEW NOISE
