ninos du brasil: vida eterna

Nico Vascellari and Nicolò Fortuni come out to play in the dark on their third and deadliest LP as Ninos Du Brasil, taking their fascinations with ritual musics -- from Brazilian Afro-Latin tribal rhythms to library music and freezing Scandinavian BM -- deep into the festering undergrowth of their shared, exotic aesthetic. Where the cover of their first album for Hospital Productions, Novos Mistérios, depicted a naked man covered by a leopard pelt, Marvin Gaye Chetwynd's oil painting of a screeching Chiroptera in flight on the Vida Eterna jacket makes a strong visual allegory for NDB's finer tuned spatial sensitivities inside, with their churning rhythms now embedded in fathoms of dread space and father shaded in layers of processed vocal chants, both punk, metal, and tribalistic. The big highlight is no doubt the closing cut, "Vagalumes Piralampos", where Arto Lindsay, the legendary founder of DNA, chimes in on a stygian, moonlit jag between the eyes of bossa nova, batacuda, and the sort of esoteric electronics also charted by Rainforest Spiritual Enslavement or Cienfuegos. But it only really makes sense after you've expended your energies along with the band thru monstrous techno shakedowns such as "O Veto Chama Seu Nome", the soca-like rush of "Condenado Por Un Idioma Desconhecido", or found yourself lost, without coordinates, in the pitch black breakdown of "No Meio Da Noite" and have been hypnotized by the stalking rhythms and atmospheres of "Em Que O Rio Do Mar Se Toma". The creation of this album, inspired by vampirism, was born from a collaboration between Vascellari and Fortuni with producer Rocco Rampino, whose love of dense textures and low-end bombast masterfully and cleverly couples with the bands explosive percussive charge, resulting in eight tracks that mimic sharp blades scything through a nocturnal jungle. RIYL: Psychedelic Warriors Of Gaia, Female, Vatican Shadow. Cut at Dubplates & Mastering, Berlin. Comes in a gatefold jacket.