segunda-feira, 21 de março de 2016

[English] Arandu Arakuaa: Wdê Nnãkrda

Location: Taguatinga,Brazil

Nájila Cristina (Vocals/Maracá)
 Zândhio Aquino (Guitar/Viola Caipira/Vocals/Indigenous Istruments/Keyboards)
 Saulo Lucena (Bass/Backing Vocals/Maracá)
Adriano Ferreira (Drums/Percussion)

Genre: heavy metal, música indígena, música regional brasileira

The "same metal" stuff is finally ceasing to be the only starlet on the Brazilian metal scene. Today, we bring you Arandu Arakuaa, which is a group built on contrasts. They are able to mix the good old heavy metal with an innovative blend of characteristic sonorities of Brazil, creating Arandu Arakuaa's theme focused on our indigenous culture.

As "tree trunk", in the akwê xerente language, here comes the second full-length of the band.
'Wdê Nnãkrda' deepens the band further into their native roots and, at the same time, it unearths our Brazilian roots, bringing them to light, bringing them to our memory.

The album begins with "Watô Akwê" and it already puts us in a village. The track puts the listener primarily just as an observer, staring at the village culture few miles away. Not long after, the listener is urged to get in touch with what the title suggests - "I'm Indigenous" in akwê xerente -. "Watô Akwê" invokes the unknown, it invokes each xerente clan to come and ritualize together by the sound of maracás and real steps on thefloor.

"Nhandugûasu" appears bluntly once the listener has been contextualized - and challenged - by the previous track. The metal shows itself pretty heavy, beautifully cadenced, bringing the instrumental as a faithful support and intro to Nájila Cristina's guttural. The unexpected beautifully breaks the first song when corners the metal, kind of nursing it with sweet clean vocals.

"Hêwaka Waktû" continues with the softness from "Nhandûguasu"'s end. It is growing and it starts pretty light and melodic to soon make way to an unison and somehow angry chorus. This perfectly precedes the entry of the guttural combined with fast riffs and also with the well-done bass lines by Saulo Lucena. "Hêwaka Waktu" decreases sharply to the melody which starts the song initially, with the sweet and smooth sound of the viola caipira.. The track actually looks like an upcoming rain, first the calm, then comes the drizzle that soon turns into pour rain, full of thunders and lightnings and finally it diminishes and ceases altogether.

"Dazihãzumze" comes soft. It brings the tranquility of a celebration in the village. This feeling has modest emphasis on vocals: the clean vocals by Nájila, after a long intro; the rhythmic vocals by Zândhio Aquino and the ending, when the song first grows up to become a kind of confrontation between jungle beasts, only to die by distant little children's voice playing outside.

"Padi" gets in and your whole body is concentrated and immediately ready to pay attention since the first riff. Drums that are very well marked by Adriano Ferreira perfectly match with the singer's voice. The contrast here is on vocals, as that music embodies and loads the track at the right time, similar to an indian who calculated the precise time to release his arrow from the bow. The song then goes on standby, it somehow reveres Zândhio's, accompanying it with maracás only.

The next track is the instrumental "Wawã". In 'Wdê Nnãkrda', it works like this ballad track that some metal albums bring. "Wawã" seems the ideal of how it would be to stay on a boat in the middle of the Amazon River, admiring its immensity.

The unusual of Arandu Arakuaa do not live only in breaking the music until you do not know to predict what will come, it also exists to put rhythms a windfall for both a metal CD. "Ĩwapru" begins very heavy, obviously always contrasting vocals and joining them on guitar. Therefore, the most unexpected even occurs: a samba! This as Brazilian rhythm appears in the track just as some. And as if it was something the head of the listener, the music back to its heavy / death with unerring kitchen and so guttural, fast riffs and drums finalize the track in the best way.

"Nhanderu" and "Ĩpredu" are the most mixed ones, in  matter of this blend between metal and indigenous sounds, because it is on them that resides the perfect junctions of maracás, guitars, drums, clean voices in unison and closed guttural/harsh vocals.

"Sumarã" is one of the highlights on this album next to "Hewâka Waktû" and "Padi". The deepest vocals by Zândhio, turns it into an instrumentally softer track, it exposes the seriousness that portrays the track's lyrics, "Enemy" in Tupi. Distorted riffs surround Nájila's guttural as well as someone lurking in the woods. At the time she gives life to the sentence "A-poro-Yuka-potar!", even if you do not understand that it says "I want to kill!", the listener feels it like a powerful and catchy term.

The last song is the only one in Portuguese album. "Povo Vermelho" tell us, under soft vocals, how the life in the village before the white man's invasion was, until the whispers begin... They make "Povo Vermelho" darker than ever. The guttural here comes with its shock function even keener because it  permeates lyrics of struggle and resistance, and all that is visible when the singer gives life to sharp stanza: “O povo vermelho resiste, o povo vermelho resiste / Enquanto houver terra, enquanto houver mata / O povo vermelho resiste, o povo vermelho resiste / Enquanto houver espírito, enquanto houver sangue” (freely translated to English as:  "The red people resist, the red people resist/ While there is land, while there is woods / The red people resist, the red people resist / While there is spirit, while there is blood")

'Wdê Nnãkrda' is an album that, even it's not conceptual, it brings the most deserved attention to the culture here that already existed before the settlers of Brazil. It's always trying to draw our attention that it is necessary that indigenous culture must not die. It is necessary to prevent the earth from dying, so the Earth won't be dead. The always vocal and its "brazilianity" are very well represented, either when sung in indigenous languages ​​or Portuguese, it gives strength and visibility to the indigenous resistance. To this fight reunites Arandu Arakuaa, always bringing thei unique sound very well built and done. With 'Wdê Nnãkrda', Arandu Arakuaa is really showing itself as a tree trunk, deeply rooted into the Mother Earth.

Posted by Caterine Souza

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