As we grew weary of whatever the next Gang of Four wannabee band stepped forward in line at the DMVs of our musical taste, the Não Wave:Brazilian Post-Punk 1982-1988 compilation surfaced in May. Spearheaded by Andy Cumming, Alex Antunes and Miguel Barella, Não Wave showed that while post-punk scenes of New York and across Europe in the ’80s where unintentionally mapping out the sound of our indie-rock favorites twenty years later, a similar movement was sprouting in Brazil. The dark, danceable elements of this Portuguese-language music hold much in common with its better-known ’80s counterpart. But few were listening, and the recordings remained largely unknown.
Released as a companion to that compilation, the Não Wave Revisited EP features contemporary electronic artists reinventing four Brazilian new-wave tracks. Tim “Love” Lee’s edit of Voluntários Da Patriá’s “Iô Iô,” with its circularly thunderous rhythm section and slashing guitars that let loose to accompany the track’s sing-songy chorus, sounds the closest this EP gets to stereotypical post-punk. In an interesting twist, vocalist Nasi – better know for his work with Ira! – bends his chorus to a head-turning presupposition of the emo snarl and vocal delivery of Cedric Bixler from early At the Drive-In records.
Munich, Germany’s Munk reworks “Eu Sou O Rio” by Black Future into a disco edit that doesn’t sound too far from the polyrhythmic tendencies of !!! and Out Hud. It begins almost identically to “Me and Giulliani Down by the School Yard (A True Story)” and lets its Latin flavors shine as the EP’s best club track. The Glimmers – of DJ Kicks fame – remix “Agentes” by short-lived Brazilian new-wave pioneers Agentss into a slow-building, bass-heavy track complete with the original’s spoken German, which showed Agentss’s love for krautrock.
Aside from the barely noticeable Marco edit of Azul 29’s “Ciencias Sensuais,” Não Wave Revisited forges a strong companion sound to the original compilation. But with Brazilian post-punk being such an intriguing untapped phenomenon without producer tampering, listeners will likely derive more pleasure from delving into the original recordings.