RAKTA: experimental all-female post-punk from Sao Paulo
For those who are familiar with the new waves of raw post-punk, RAKTA shouldn’t be a surprise. For those who aren’t, they could be a good starting point. As a matter of fact, it’s hard to define whether this all-female band from São Paulo in Brazil really belongs to any actual current wave, but categorizing them is certainly not a priority anyway. Like they claimed on an interview with CVLT Nation, “we are not attached to any [genre], and this is what we are trying to advocate.”
One of the most impressive features about RAKTA is the primitive nonchalance with which they go from horror soundtrack sounding synths and mystical intertwined vocals that repeat echoed hex mantras to walls of oppressive percussion that stand in obdurate opposition to the seductiveness of the most popular rhythms coming from their homeland. Their music belongs to a dark ritualism that isn’t traceable to any genre-related framework, and that often flows into a devilish and fascinating tableau resounding with noise, drone, and even electronic music.
Even when their experimental fury shatters common post-punk structures, though, there’s always a certain hypnotic feeling that allows the listener to remain focused and attracted to their sound. Over the course of a six-year long career, the band improved their formula with each release – most of them being cohesive EPs with powerful and defined aesthetics – and reached their peak with III. On the album, released by Iron Lung Records in the States, five long songs create a sonic universe that is truly unique in today’s music world and which perfectly represents what RAKTA are about.
Writer and musician from Milan, Italy. Hardcore punk background, DIY enthusiast, Balkan culture scholar. Check him out on Twitter at @advaence