Anti-Corpos: feminist lesbian hardcore via São Paulo
The original goal of a genre like hardcore punk has always been to change things, fight injustices, and give a voice to those who are oppressed. However, it feels like with time, the hardcore scene has become a niche built for white males, with many live shows turning into a gym for violent people, a phenomenon that has inevitably pushed others away from the scene and from its great potential. It’s in this context that the importance of Anti-Corpos, who define themselves a feminist lesbian hardcore band, becomes evident. They epitomize the original spirit of hardcore.
Anti-Corpos are from São Paulo, Brazil, and they might be the angriest band you’ll ever hear. No triggered double-kicks, pompous guitar riffs, or carefully faked screams. Only real and necessary anger. Their urgency is evident in the strident vocals of singer Rebeca Domiciano: she needs to screamand to get things off her chest. It feels like her voice, while refusing to precisely follow her band mates fast-paced tempos, can actually make a difference.
Their latest full-length, released in 2015, is a great example of political hardcore. It’s titled ‘Forma Prática de Luta’ (‘Practical Way Of Fighting’) and contains eight short and intense tracks that talk about police brutality, patriarchal abuse, and finding ways to resist to any kind of oppression. The lyrics are in Portuguese, but they barely need to be translated, seeing how energetic and heartfelt everything sounds. In their live shows, this anger is even amplified while male chauvinist violence is not tolerated. It’s what hardcore should simply be like, now more than ever.
Alvaro Lancellotti: a slow and distorted take on Afro-Brazilian and samba
Alvaro Lancellotti‘s slow and distorted take on Afro-Brazilian and samba caught me off guard – I was expecting acoustic singer-songwriter, but I ended up with something that sounded more like Tinariwen.
Part of me feels silly writing about Elza Soares on a blog that tries to support younger, up-and-coming international acts. However, Soares releasing a new album in 2016 didn’t get as much attention among my peers as it should have (or maybe I live under a rock). So in honor of the end-of-year “Best of 2016” recap season, I figured it was time to give some more love to one of Brazil’s greatest vocalists. For more on Soares’ background, check out this “Best New Music” Pitchfork review.
Carioca label Transfusão Noise Records is one of Brazil’s best sources for lo-fi and alternative music. The label’s ongoing “Cassete Club” series through its Escritório extension is worth going through to find all new Brazilian indie music.
Felipe Neiva’s “Conte Comigo” is the latest single from the series that stands out to me. Starting out as a pleasant fuzzy indie jam (at first it sounds like Interpol’s “NYC”), the song grows into something exciting and uniquely Brazilian.
I love what Club Fonograma has to say on the song: “This third offering comes from Felipe Neiva, an artist that caught our attention thanks to his song’s somber, wounded spirit laced in affecting guitars. The track initially offers pure indie rock which then timehops back into a 60s freak out, a move that works because it places the vocal’s garbled pleas in the proper context.”
We’re due for a new Felipe Neiva EP later this year, so stay tuned.
Lila, the stage name of Eliza Lacerda, perfectly captures that feeling of being on a Brazilian beach as the sun is setting and all the lights of the clubs and restaurants start to turn on. I’ve never been to Brazil, but it works for any beach. If I go to Rio one day, I’ll dive into Lila’s ambient yet soulful atmosphere and never want to leave.
Sounds Like: If Tom Yorke decided to work with Rid Of Me-era Steve Albini on a song in Portuguese
This band hails from the capital city of the Brazilian state of Rio Grande do Sul and have a very unique sound that’s kinda Brazilian folk, kinda Tom Yorke via The Eraser electronic, and kinda industrial punk.