Boogarins, the Brazilian, indie psych rock sensation can trace their origins to when its founding duo, Fernando “Dino” Almeida and Benke Ferraz started playing music together as teenagers in their hometown, the central Brazilian city of Goiânia — and the music that Almedia and Ferraz began to write and then eventually record was a psych pop that managed to filtered their country’s rich and diverse musical history through a modern lens. The duo’s 2013 debut full-length effort, As Plantas Que Curam was a decidedly lo-fi home studio effort, pieced together in isolation before the duo had recruited a rhythm section or played a live gig. By the time the album was released that year, the fully-fleshed out band had started developing a profile across their hometown and nationally as they started booking regular gigs in Sao Paulo and Brazil’s largest cities. In fact, the band’s debut effort was a commercial and critical success in their homeland as the album received praise from Rolling Stone Brazil, who had dubbed the band “Best New Artist” in 2013 and was nominated for several awards on GloboTV’s annual music award shows — all without much support from a label or from PR. Arguably some of the success Boogarins stems from the fact that unlike the majority of contemporary Brazlian bands that primarily sing lyrics in English, like their British and American counterparts, Boogarins material is sung completely in Brazilian Portuguese.
Over the last couple of years, the Brazilian psych pop act have started to receive increasing international attention as the band has toured across the globe playing at Austin Psych Fest, Burgerama, Primavera Sound Festival and headlining shows in clubs in London, Paris, Barcelona and New York. Naturally, the band started to receive praise from internationally recognized outlets including Pitchfork and The New York Times, who compared the Brazilian band’s sound to the likes of early Jefferson Airplane.
During their Spring 2014 European tour, the members of Boogarins spent two weeks in Jorge Explosion’s Estudio Circo Perrotti in Gijón, Spain, where they started tracking for material, which would wind up comprising their sophomore effort, Manual, which is slated for an October 30 release. Actually, the album’s full (and official title) is Manual,ou guia livre de dissolução dos sonhos, which translates into English as Manual, or Free Guide to the Dissolution of Dreams is meant to be viewed as a diary or sort of dream journal. The band eventually returned to Brazil and in between concert dates across South America, they finished the album in Ferraz’s home studio. Manual‘s material reportedly is not only more personal than their debut, it’s also more socially conscious as it draws from the sociopolitical and class issues affecting their homeland during and after the 2014 World Cup as entire neighborhoods were pushed aside and destroyed for massive commercial developments, instead of uplifting those who desperately needed uplift from the World Cup. (Certainly, as a New Yorker, in light of gentrification changing the city in a way that increasingly seems familiar.)
Just after releasing Manual‘s latest single “Avalanche” and while preparing for an extensive international tour to support it, Boogarins played a sold-out show at Centro Cultural Sao Paulo — and the official video for “Avalanche” was shot during that sold-out show. As for “Avalanche,” the song is a slow-burning, yet breezy and percussive song comprised of shimmering guitar chords played through layers of reverb and delay pedals, swirling feedback and a sinuous bass line paired with plaintive and ethereal vocals. In some way, sonically speaking the song sounds as though it draws from Dark Side of the Moon and Wish You Were Here-era Pink Floyd and Tropicalia but thematically drawing from Rage Against the Machine; in other words, dreamy and trippy yet grounded in the real world — and done in a way that’s powerfully accessible.