Straight from the depths of São Paulo, Brazil, Rakta is a band too wild to be caged inside
familiar rock labels. In fact, very little is familiar, or comfortable in Rakta’s music and
general stance. On the road since 2012, the group, formed only by women, had as an
initial inspiration the musical freedom and policy of the 70s/80s anarchist and post-punk
scene, especially towards the “antiphilosophies” from the British collective Crass.
After this initial impetus, they soon found their own identity, pushing the creative barriers,
without interest in playing sounds or pre-defined ideas of one or another subgenre. I.e., a
completely punk modus operandi, but without any reverence for rules and standards
In 2013 they released their first self-titled LP (Nada Nada Discos and Dama da Noite in
Brazil, 540 in United States and La Vida es un Mus in Europe) and toured for 3 months in
United States and Europe, making their own growth.
The unique, rough and psychedelic sound, followed by instinctive and free perfomances
by its members, make Rakta's message disseminate throughout the world.
Following other releases, the band continued to evolve and arrived at its last record, III.
Now without their guitar player Laura, Rakta reconfigured themselves as a trio,
reinventing their sounds.
By giving up the guitar, the band transformed itself into a more free manifestation, moving
away from any trace of "rock cliche" that could have stayed.
Psychedelic textures emanate above the solid base lines and drums, created by
manipulating a synthesizer and effect pedals.
The lyrics are evoked as mantras; the verses and choruses are spilled in a way that each
music stops being a song and becomes a process, a translation of an emotion in rhythms
and sounds overlapped and organized to the limit of chaos.
Filhas do Fogo/Conjuração do Espelho for example, is an epic song that lasts more than
10 minutes, in which the origins of the urban cement of punk from Rakta are suggested at
the beginning, until the drums are suddenly alone in a tribal rhythm that initiates a ritual
around the fire, referred to the title of the song.
And the record sustains this same spirit, exploring more and more the sound itself, being
able to renounce temporarily the tradicional narrative of the song, then returning to it.
III is a record that feeds the brain, the body and most of the time the spirit. Another
interesting point of brazilian's underground, conquered by Rakta.
The album was released on vinyl in Brazil by Nada Nada Discos and Dama da Noite; in
Europe by Dê o Fora and in United States by Iron Lung Records. The diffusion of III
started with a tour through United States, followed by a tour in Japan and concluding with
a few shows in Brazil, including the festival Novas Frenquências, Coquetel Molotov and
It's 2017 and Rakta just expanded a little more, leaving Brazil on March and touring
through Texas, Seattle, Mexico and Colombia.
» Deaf Kids (BR) (Punk Noise)
Formed in 2010 in the industrial city of Volta Redonda/Rio de Janeiro, Deaf Kids' first iteration was a solo idea by Douglas, delivering a fuzz-soaked blend of crust/d-beat and the many other musical offerings he had to offer. Soon, a live-performing unit was assembled, and a few months after the lineup was stabilized, with Mariano on drums and Marcelo on bass. Seven years, many gigs across Brazil, two European tours, eight releases - more than 200 shows after, Deaf Kids remains steadfast onto the multiple paths that lead into the self-questioning and sonic deprogramming of minds.
The band's releases carry different takes on the sheer and hypnotic beats that comprise D-beat, like the full throttle noisy assault of 2012's 'Six Heretic Anthems for the Deaf' EP or the cavernous, off-the-rails hardcore and apocalyptic monoliths that comprise 2014's 'The Upper Hand' LP. As the band moved to live together in São Paulo, composing and creating as a full unit, the different musical and aestethical tastes - mixed with the broadening of each one's musical spectre and the common interest on mesmerizing grooves and psychedelic overwhelming rhythms from all over the world - flipped the band onto an even more extreme experience. The resulting process can be checked on the mind-abusing, lingering repetition of 2015's split with USA's Timekiller, the 2016/2017's avant-garde wild and psychedelic absurdity that is 'Configuração do Lamento' - and the cathartic energy discharge of it's live perfomances. Nowadays Deaf Kids see itself connected to the production of expanding dirges, both steady and explosive - overwhelming music that carries a Brazilian (and Latin American) imprimatur on it - a legitimate bastard child of the colonizational chaos, both here-and-there, trapped between different, complementar and opposing worldviews, trying to balance this condition on an attempt to capture the intensity of said conditions and expressing it through sonic ways.
The band's seventh and most recent album, Configuração do Lamento, was released by Neurot Recordings on 10'' vinyl and Digipack CDin October 2017 - Neurot label founder and member of Neurosis Steve Von Till explains how he came across the band: "I first read about DEAFKIDS when I saw a headline from Cvlt Nation that read, ‘This Band Sounds Like No Other!’ My cynical nature believed that to be a tall order, so I decided to call their bluff and clicked on the stream… MIND BLOWN. I was not prepared for how much I would love this record. Raw, powerful, and explosive heavy psych. I think I listened to it three times in a row right then and there. I played it for my bandmates the first time we were all in a room together and we all agreed, ‘We need to put out a DEAFKIDS record.’ So here it is, for the first time on vinyl and CD, that very same DEAFKIDS recording that first lured me into their sonic world." The two bands played together on Neurosis' first concert ever in Brazil, in December of the same year.
DEAFKIDS’ Configuração Do Lamento is an untamed release, happy to juxtapose monolithic drone riffage with frantic polyrhythmic detours, the band citing the syncopated beats of African drums as a major influence. It is a guttural, scorched mutation of psychedelia, that similar intent of frying the listener's perception, while void of anything approaching earthy wistfulness, wholly fluid in nature, paying no heed to any musical expectations other than the creators own internal logic. A bombardment of clanging percussion sits below relentless guitar battering, and a whole host of electronic tamperings, effects which in practice manage to further confound the proceedings. Using the term psychedelic in the absolute loosest sense is apt, as the band claims that “non-genre genres” are a chief source of inspiration, referencing anything from their own background in punk, right the way through to spiritual jazz, practically any form which allows the artist to experiment with the utter extremes of musical expression.