Live review by Incendiary Magazine UK

“Mueran Humanos, an act who were described to us as “Argentine Goth”, which is an intriguing and exciting proposition. Argentina has a considerable artistic pedigree when it comes to this sort of thing, and quite frankly, the band was a revelation. The stage presence of the duo, (deadpan, scuzzy lad and scowling girl with seemingly very little under her 1940s/Austerity/French Resistance- style coat) was electrifying. Their music was a powerful trip, long drawn out grooves with a low grade metallic sheen. Think of ridiculously underpowered Swans, or a destructively morbid Soft Cell if you want to have an instant musical reference. And the girl. That girl… she struck a note of fear and wonder into all present. I am guessing but I think she wanted to string up the sound guy and would happily have done so given 5 minutes and access to rope and a beam. Always on the point of booting over her keyboards and marching off, she carried on; dragging her audience through ever greater swirls and eddies of electronic noise.
At one point Incendiary turned to John Robb, who was also present, and blurted out “it’s like Margaret Thatcher on vocals”. With hindsight this was an extremely tactless and unfortunate metaphor to use – and I’m sorry to have said it – but something was unlocked in Incendiary’s mind, something in the metallic, Gothic No Man’s Land of the music set a personal counterpoint off. Something in the girl singer’s hostile, prowling dominance on the stage: something sent us racing back mentally to the barren, charred wastelands of feeling and self-worth that the Thatcher governments inspired and engendered with their emotional slash and burn policies. But enough of that particular Godless White Goddess in her destructive Hag form. As I’ve just said, this music was truly a disco set up in No Man’s Land, a howl from the moors outside. We bought the album. Check the cover out if you have time. It might inform you further about this band.”
(by Richard Foster)

Live review by Louder than War UK

“Mueran Humanos are from Argentina but now live in Berlin. Their name is Argentinian for Death To Humanity which gives you a clue to what’s going on here. There is a darkness and tension to their keyboard driven music and they have taken the Suicide approach to making music but very much gone their own way with it.
There are two of them, the hauntingly aloof and beautiful Carmen Burguess and the rocker Tomas Nochteff and between them they make a music that is beguiling, dark, sexy, dangerous and haunting. In a barrage of electronics with a tough bass they create an unsettling music that is utterly compelling.
Tonight there are, admittedly, a couple of sound problems, but nothing serious but the band are scowling in a way that is captivating. The scowls are not in a hissy fit kind of way but in a way that adds to the mesmerizing tension of their music. A music which is built round a Moog and keyboard assault with an added dirty disco bass, kinda like the aforementioned Suicide on a really bad trip but also, oddly, quite pop.
That sort of gives you a clue for what’s going here.
It’s pretty dark but not beyond pop, the duo, from Buenos Aries, now live in Berlin have cut an album that has a disturbing cover and play these shows that are walking on the wild side. The impenetrably and utterly glamorous, Carmen Burguess, looks like some kind of forties film star in her raincoat and looks moody, dark and sultry sexy whilst she plays keyboards and sings with that scowl etched on her face whilst Tomas Nochteff plays a good, heavy, driving bass. Tomas looks like some kind of Boca street kid who is taking his aggravation out on the bass instead of on the football pitch. He sings as well.
The set starts off with a drum machine before the keyboards pile on the layers of sound with the squelching Moog building some kind of drone with an ethereal melody line, the haughty vocals are then added and then the bass and then some sort of cassette player adds some noise sections.
Mueran Humanos are like nothing else. There is a trance power about them, their album cover is a woman’s head with her face blanked out and replaced by what looks like female genitalia. There is that air of Throbbing Gristle’s industrial strangeness about them, that sort of industrial edge freakiness but also there is that weirdly commercial edge to what they do, that sort of thing that the early Soft Cell had, that idea of walking on the dark side but somehow being able to translate it subverisly into the mainstream.
They never let the scowl down, they remain haughty, dark and imperial. Their songs are captivating, haunting and beautifully strange, that they make all this work in the back room of a bar is a testament to the strange power of their music.”
by John Robb