Mar 4, 2011

[Review] Darkwave From The South: Music From The Other America

Write by Mick Mercer

Colombia’s Circo del Luto go quite mental with vocal vibrancy during the happily scary carnivalesque ‘Catalepsia (Ft Ewiges Delirium & Metro Ketamina)’ which has some real mania hidden in the intriguing delicate folds. I’m not sure what’s going on with the pretty sounds coming from Peruvian band Maresantos as I was musing over how it reminded me of Robbie Williams’ ‘Angels’, then noticed it was called ‘Ella Habla Con Ángeles.’ Brazil’s Days Are Nights offer further delicacies in the Cure-like despondency of ‘Diamante Valioso’, but I don’t mean some pure Cure copy, just the feel as the ghostly vocals and firefly guitar are quite different, providing delightfully dry sensations. Chile’s Amora Morte offer stern rocky Goth in the shadowy, echoey ‘Abismo’ and more quality shines out of Argentina’s Crucifix Nocturnal Christians statueqesue atmospherics in ‘Circus of Angels’, the rustling beat and carefully precise vocals a total delight.

Another intriguing Colombian band, Ewiges Delirium, howl in the becoming wilderness of ‘Visceral’, Brazilians Sunset Down have quite a downcast rock thing going in ‘Dark Dance Floor’ with a brackish beat and solid vocal character. Peru’s Ilucion Marchita are lively little characters, the somewhat shaky sound of ‘Dolor Del Alma’ doing little to undermine their eager insistence. Trad gawf springiness from Argentina’s Septima Sima and their gruffly wielded ‘Un Lugar en mi Corazon’ finds the song squirting forward with bright guitar on the singer’s shoulder like an inquisitive parrot. Nice twittering Brazilian dance touches from Mundo da Mente in ‘Morte’ have a dark underbelly peeking out as it slithers softly. We remain in Brazil for Das Projekt der Krummen Mauern’s ‘Religion Or Illusion’ who have a sumptuous melodic core bristling with spikier elements including heroically curvaceous guitar. Then there’s two more from Colomobia, with some dinky scampering post-punkery from Metro Katemina in ‘Condenados por la Sangre’ which sways cutely over a swaying synth to make up for its tiny sound. The demented Legacy take a loopy punky rant diversion through ‘Tonight is Helloween’ and while this is engaging madness I’m not sure why they got on.

Brazil’s Escarlatina Obsessiva will be no strangers to most of you and the dark slopes of ‘Eyes Like Stars’ are typically inviting. The lightly somber Visioner from Argentina teeter through the strangely wilting, tilting ‘Sinfonia en Mi Nº45’ and while Brazil’s Sunseth Midnight start off dignified and new agey, they grow progressively doomier during the grandly sweeping epic of ‘Sun Seth.’ Uruguay’s 17 Cadaveres Ilustres sound like hungry garage in ‘Una Perdida’ with chirpy vocals lost in a heap of guitar intestines with deeper contrast coming with the glorious floaty Childean ache of Aldearoja’s ‘Sin Perdón’ with resonant vocals.

Another unusual Brazilian bands spring forward in 19 Projeto Renfield, teeming with ambitiously fiddly guitar and grave vocals that work weirdly well in the memorable ‘Clamor’, then it ends with the best song. Superb male/female vocal variety meets over a crawling melody and supremely itchy guitar from Colombia’s Ectoplasma with their brilliantly stirring ‘Lament.’