DEAFBRICK

about following through with an electronic tracks, Douglas’s simulidea or direction for each track, so taneous use of futuristic delays it had a freedom in that we tried and ‘Eastern’-sounding guitars, lots of ideas, but structured in that Marcelo's [dos Santos] distorted we kept focused and moved for- bass work, or me and Igor interactward with each piece, so we didn’t ing percussively, when we sum all get lost.” of our efforts together, it becomes this living musical organism, pointINTERVIEW WITH WAYNE ADAMS, MARCELO DOS SANTOS, MARIANO DE MELO, AND DOUGLAS LEAL BY CHRISTOPHER J. HARRINGTON And yet, lost is what one gets when experiencing the album in full. ing in different directions.” Songs conjoin with each another to The voices and scattered shouts wo becomes one for Brazil’s the place where humans lay verti- form a pattern that extends into a heard throughout the record

Deafkids and London’s Pet- cal to the stars. maze. An overture into an overture, are in some ways sparse, and in brick, and thus, Deafbrick, the an organic drive through a land of other ways, dominant. It is their omnipresent, the culmination of “I think that both bands point to heat and breeze. There is as much abstraction that sets them as estwo exploratory bands meeting in a ‘futuristic’ scenario in their own dynamism as there is counter-re- sential to the very nature of Deafthe center, a third eye navigating a way,” Leal continues. “In the sense action. It is the work of exploration brick, a living, breathing organism path towards ascension. Released of exploring new sonic and imag- and trust. In many ways, the two is unleashed. De Melo says that September 4 via Neurot Record- inary possibilities that are evoca- bands mirror each other precisely. in Deafkids, the conscious choice ings, the quickly recorded and tive, and in the sense of the tran- The team-up is seamless, as a car- to limit the verbal content makes infinitely revealing new album is scendental in relation to time and avan of imagination swarms over them that much more relevant and a journey through five minds, two spirit.” the listener. The mind is revitalized. powerful. In Deafbrick, they come bands, and one central passion: It is computerized by technicality, off as monsters. the expression of living not here, The ten songs on Deafbrick are a only to be dematerialized by the not there, but everywhere. cubist plant that grows greener album’s earthen might. “The same goes for the musical and and leaner each day. They form a visual information,” de Melo adds. “It was like a culmination of ideas spiraling echo, a transplantation “For us, writing music is a communal “We tend to think there's a certain and experiments coming from of mind and matter. The sounds matter,” notes Deafkids’ Mariano sense of corporal heat which is reall of us,” says Deafkids’ Douglas are as free as nature, and as struc- de Melo. “A communicational ef- quired for it to refuse stagnation as Leal. “I believe we were guided tured, too. They may sound loose, fort, with the industrial part coming well, and as such, we think it’s relby feelings and sensations, vibes but are scientific in essence. from the aesthetic specificities and evant to attempt to build anything and landscapes, and pulses and techniques used, and combined that can make such heat erupt.” rhythms.” “It was a very focused session, as we with the more organic grooves only had three days to write and and dirges we also love to explore. The volcano explodes on Deafbrick, Which is exactly what songs like record the record,” says Wayne Ad- That is something we clicked on a fluxing amalgamation that re“Maquina Obssessivo-Compulsiva” ams, who along with Igor Cavalera, since the beginning. Whether it’s wards your interest as it explores and “O Antropoceno” sound like: forms Petbrick. “It was definitely Wayne's surgical construction of the regions that few dare. �� �� ��

PHOTO BY FELIPE PAGANI