English / Castellano / Deutsch / Latvija / Italiano / Nederlands / Svenska / Portugues / РОССИЯ
English
*[Updated in 2011, readers are referred to a google search to see recent reviews]
Beard Rock Album review
Beard Rock (US)
The name means ‘Death to Humanity’. The album cover features a head and shoulders portrait – with the eyes, nose and mouth replaced by what seems to be a vagina. The website has a woman welcoming you, arms out-stretched in a Christ-like pose with bleeding chest wounds.
Despite being formed as part of an art project in 2006, Mueran Humanos look and sound like 1980 never happened. It’s all biker jackets, sullen pouts and dry ice. The look may be derivative but the sound isn’t. Argentinian husband and wife duo Carmen Burguess & Tomás Nochteff’s art-house background means their debut album straddles the line between experimentation and accessibility making their 2011 release a truly over-looked jewel.
Sure we’ve had the synth groups before, but the edge here is in the Spanish lyrics that add a layer of alienation and abstraction. With Mueran Humanos sound opposites attract. The music is spiky and sinuous, disciplined and lithe. Burguess and Nochteff create a sultry, pulsating sound that owes a debt to Suicide and ‘Being Boiled’-era Human League.
The album marks a departure of sorts from their previous single ‘La Langosta’, which created abstract, ambient soundscapes from minimal instrumentation. Now Burguess’ electronic keyboard-driven experimentation blends with Nochteff’s thumping bass and distorted guitar to create a writhing sound that positively throbs with sexual energy. This is Latino synthpunk that oozes gothic from every orifice. Echoes of Two Lone Swordsmen and Death In Vegas occasionally seep out, as do sounds that could have been lifted from a very disturbing 50’s sci-fi B-movie.
Opener ‘Horas Triste’ starts with cautious, tentative vocals and ends 8 minutes later awash in grinding guitars. Stand-out track ‘Corazon Doble’ seethes around a distorted bassline, as Burguess’s angelic vocals entwine with Nochteff’s robotic declarations. But this album is not a one-dimensional affair. On ‘Altar Hogar’, there’s almost a scuzzy blues vibe that thrums hypnotically finishing with threatening harmonies and feedback. This is dark and unsettling stuff.
You don’t have to speak Spanish to get the gothic groove. Perhaps their recent relocation to Berlin is already paying off as the whole vibe reeks of Argentinian passion with a Teutonic icy coolness. Not to be missed.
Altar Hogar video review
International Tapes (US)
Last we heard, the Berlin via Argentina based dark pop crew known as Mueran Humanos were busy preparing to release a record, giving Jesus a makeover, and hastily packing their bags for the first North American tour. Now, in their self-made music video for “Altar Hogar” (translation: home altar) we find them roaming the Totenköpfen lined halls of the Krankenhaus Museum and lighting candles atop the mysterious Teufelsberg. The plodding guitar, drippy drum machine, and low tenor harmonies that open the track are soon swept up in a rapturous sweep of guitar, organ, and bass. This controlled explosion slowly fills out through the track’s second half, adding low synth horns, yet more organ, and a profound synth of psyched out doom. Try not to look the skulls in the sockets and sit tight. (Luke Carrell)
Mueran Humanos album review
The Inarguable (US)
What used to be will never be again, and what you used to enjoy just doesn’t look right anymore. Days begin to melt into one as you lose sleep and you really can’t figure out what you are doing half of the time. Often you catch yourself thinking about yourself from the outside and wonder why you just can’t figure out what’s missing. This conscious quest through the mundane and unexplainable describes perfectly the sound of Mueran Humanos self-titled full length.
Made up by Carmen Burguess and Tomás Nochteff, Mueran Humanos plays simplistic synth-pop heavily influenced by post-punk. The Argentine and German duo manage to create an eerie, often goofy, ambiance of melodies driven by groovy droning synth-bass lines and mechanical hip-hop inspired beats. It must be said that although I have mentioned it to be a dark and heavy album, this in no way means that the album itself is gloomy or depressing in anyway, but instead sarcastic. The simplicity of their song structures allows the group to create symphonies of mechanical fuzz through the many layers they add throughout each song, giving the group a unique attitude. With each listen you will begin to notice several of the disembodied sounds that hang in the back drop of your speakers behind the perfectly synchronized bass and drum combination that still gives the music its distinctive funky beat. Both Carmen and Tomás contribute vocals to the music, each voice creating a completely different character within the story being told by the instruments.
This is a kind of group that would fit in perfectly playing inside of hole in the wall surrealism museum, and if they have not yet someone should give them a gig. The mass amounts of synthesizers is surprisingly extremely enjoyable because they are used in the most minimal fashion and it is always nice to hear post-punk that does not sound like it’s from Manchester in the 1970’s. Mueran Humanos self-titled full length is an album that demonstrates that you can still have groove no matter how moody you sound. (Julian)
Url Kvnkal Best Of 2011 list
Decayed Tapes
Mueran Humanos debut album
Let me first say “Horas Tristes” is a popbanger. Not in a pop song way, but in a nod to slicing your wrists and bleeding in the bathtub or sticking your head in the oven; so, whatever happened to just taking too many calm-me downpills? Anyway, Mueran Humanos’s debut album was 2011’s go to spinnage—I would even make the effort to flip the vinylfrom A to B for this one.
Live Drop Dead Festival Review
Nemesis To Go (UK)
There are two of them: keyboards and guitar. But there’s no dainty minimalism about Mueran Humanos. Sure, they can be spookily ethereal at times, or even, here and there, get all smashed-techno, like an 80s computer game being nailed to a wall. But there’s a glowering menace behind even their most meticulous minimalism, and as the set unfolds the music billows and builds like an approaching storm. A ragged, thrumming electronic rumble underpins everything, with treated guitar skidding about in front like a plane trying to outrun a hurricane. Male/femalevocals mesh and entwine and then go their separate ways. In the end, the sound is so all-encompassing you forget there are just two people on stage. You’re just mesmerised, as the Mueran Humanos juggernaut powers towards you.
Italian Interview
Onda Rock (IT), by Michele Guerrini
How did you give birth to your project? What were the first steps and the artistic goal you would achieve?
Tomas: I always wanted to play with Carmen and always wanted to be with her, we always liked each other and each other’s work. We started as soon as we meet in Europe and move together to an empty house. We wanted to explore and express our obsesions and interests and generally enjoy ourselves. At the begining it was more abstract, pure shapeless sound to go along with our videos and collages, and then we started to make songs, playing live, etc.
Just bass, synths and vocals. these are the typical items of many minimal/new wave bands but in your music I perceived a poetical soul too. The spoken word style of some composition, and the elegance of spanish language… a black morbid poetry…
Tomas: Well, it is not only that, but also samples, percussion, theremin and tapes. We are not a minimal wave band. Tags and movements bore me. Some people related us to the minimal wave but it’s because the time that we released our album, wich coincides with a renewed interest in that music because of the excellent work of people like Wierd Records and Xeno and Oaklander, but we weren’t aware of all this when we released our album and I have all respect from them, but what we do is different. Anyway, people related our work with different styles and bands, depending on the things they are into, but nobody can nail what we do because is something new. When we started in 2006 we weren’t aware of other people using similar formations, we just applied the same idea we always got. Before MH I played in a similar formation in Argentina, a band called Travesti, and before that I played in a band wich was only bass and drums. It seems a natural progression of what we always did. Carmen always played piano since a child, and before Mueran Humanos she was playing keyboards on a band called Mujercitas Terror. So we just took our instruments and use them to give birth of Mueran Humanos. The idea is to use what you have, not picking the instruments for their sound, but twist the instruments that you have to make them sound as you want. In that way, we don’t use the instruments, we abuse them.
“Horas tristes” and “Leones en China” are the longest and most introspective compositions. on the opposite of “Cosmeticos para cristo” and “Monstruo”, shorter and more aggressive. How would you define this dualism inside your music? From what these songs take origin?
Tomas: In the begining we did long improvisations and nothing else, we were locked on our apartment playing for hours the same riff over and over, we started with one sound, or one note, or a prepared tape or a drum machine pattern and build things around it, improvising, allowing the thing to grow. That’s the origin of all our songs, so some of them get shorter and some of them get even more short. It depends, we treat each of them as a totally different event, every one of them is a different creature and needs a different aproach. It’s a long organic process back and forth between Carmen and me. We work in a cinematic way, each song for us is not only a song but also an aural place, in a way that a movie soundtrack works. And like a soundtrack, you choose different sounds and duration depending on the scene
There is a strong religious content in your music, what are the thoughts, the concepts that you would express?
Tomas: “Religion speak of trance, ecstasy, trascendence and the communication with the beyond. Also, religion tends to concentrate meaning and power into symbols, images and verses. Just like art. Religious art is important to us because it provides a frame to transmit knowledge. Our interest is on the ritual, architechture, art and philosophy of religion. I am of course aware that religion is a tool of social control but that’s organised religion and in the end you can say the same about art, after all propaganda and advertising is art used for social control, so we don’t pay attention to that aspect of religion. We didn’t have a religious upbringing, I’m not even baptised, so we don’t feel the need to rebel against religion. I am into the free interpretation and study of religion, into explore this fantastic store of knowledge. I feel keen to the approach of people like Jung or Philip K. Dick to religious traditions. We are interested on all religions and the occult. One example of this is the first issue of my fanzine of cut ups and collages Mueran Humanos – from 2003, we took the name from it. I had this vision of the cross as an upside down phallic symbol. Also a naked man is nailed on it but you can’t see his genitals, so the cross itself represented it. So I assambled an upside down cross made of a mysil, a lipstick bar and a fragment of a Robert Fludd drawing and put the words “Mueran Humanos” on top of it, that was the first time I used that name. We don’t use this symbols with aesthetic purposes only, we used them to communicate meaning.”
Clock DVA, Suicide, old school EBM, minimal wave: your music follows many paths but they’re re-elaborated in a personal way. How much time did you spend to evolve to your style and from what roots did you start?
Tomas: Rock culture is anglo-saxon, and I am not, so since I started playing music as a teenager I always wanted to generate my own folk music, the music of Buenos Aires today. Tango is the music of Buenos Aires but it belongs to another era, since the 40s nothing really happened, it doesn’t sound like the city anymore. So I was listening to things like Neubauten, PIL, Swans, Cabaret Voltaire, but I was always aware that it wasn’t my culture. And because we didn’t have a sound of our own, we decided to invent it. On the bands I played before MH we were looking to make the folk music from our era, that was the main preocupation, to reflect our perception of the city and our experiences as teenagers living there in that specific time. What we do with Mueran Humanos is less a reaction and more a construction of another space, a dream logic, a space between Carmen and me, is not a psicogeography of the city but of a private space. On the other hand we don’t live in Buenos Aires anymore, so Mueran Humanos is different but I still think our biggest influences are the bands that we played before, the genre that we tried to invent. We don’t have style, “style” sounds like “etiquette”, a code of behaviour, I prefer the word “personality”. It’s an ongoing process all the time, never stops, and all the steps are Mueran Humanos in a different point of mutation. We don’t follow anybody else’s path. We are making our own language. As I said we started doing long abstract soundscapes for ourselves, exploring our instruments and our chemistry so that’s the roots of us, of all the bands you mentioned only Suicide was really important to us and yes it is a big influence, but not necessarily because of the sound of them, but because the purity of their expression and the freedom and frontality of their approach.
The Artwork of the album is a work by Carmen. How did you choose it for your first LP? What is its meaning? An obscure and cruel vision of the woman identity?
Carmen: Could be, but there’s also a work with purely the colour and a sense of humour in it. Tomas: It was clear for us that it would be the cover of our album two years before we recorded it. It’s a part of the album as important as the songs, I don’t know why we chose it, many decisions just happen without any discussion or talking, if felt right.
What are the artists (poets, writers, painters) that influenced your aesthetic and you life
Carmen: There’s a lot, from writers from past centuries like Lewis Carroll to comic artist of today like Charles Burns. One of my favourite artist is Dario Argento, because he condense many things that fascinated me.
Tomas: The list would be endless but here are some: Dario Argento, Kenneth Anger, Bergman, Max Ernst, Maya Deren, Jan Svenkmayer, Murnau, Kafka, Rilke, John Carpenter, Rimbaud, Austin Osman Spare, Philip Dick, Jean Cocteau, Maurice Maeterlinck, Ezra Pound, Debord, Wyndham Lewis, Borges, Roberto Arlt, Nick Blinko, William Blake, Bosch.
I saw on your blog\website that you released a short movie titled ” Mili The Rat” and that you have modified the front covers of “Seventeen”magazine. What is the end of these projects?
Carmen: Visual art for me is a different language, I use it to communicate things that I can’t explain with words, so I can’t talk about it, I just did it, they are alive to me and I hope that they explain themselves. I always did visual art, nowadays I am more absorbed by our musical project but it’s still part of my life and it will always be. I’m interested in these particular time in integrating my visual art with Mueran Humanos. My last projects were the ilustration of a Lovecraft’s poemary that I did for a Spanish edition, in colaboration with my friend Daniela Zahara from Argentina.
Just the last questions. How would you describe your Italian tour? How was the gig with Kreativ In den Boden and how are your relationships with Wardance, the booking agency that brought you here?
Tomas: The Italian tour was fantastic, Italy is an incredible beatiful country. It’s so different from Argentina, in Argentina everything is new, not much history, so going to the birthplace of the Western civilization is really a psychedelic experience for me. People were great, really friendly, funny and supportive and I’ve enjoyed a lot their company. Wardance and Luca Grillo and the bands we played with, everybody were all really nice with us. In Genova we were supported by a mindblowing band called UR. So in the end was the most fantastic tour we could ask for, what can I say? Grazie mile!!! And I want to come back as soon as possible and play more cities.
What are your plans for the future, I know some stuff is coming out right? What would we have to expect from your new songs? After Burial Hex, will there be other collaborations?
We just released a split seven inch with an Argentinian band, Mujercitas Terror, in Mexico on the label Valevergas. And we have two releases in the UK in the near future, one seven inch single with 2 new songs on the new record label Louder Than War, launched by John Robb and Southern Records, and one 12 inch on Vanity Case records, on one side it will have La Langosta, wich is an old song, and on the other two or three new songs, we’re still working on it.
There will be more collaborations in the future with some great people but it will be a surprise. I am starting again to put out solo stuff, first I will re release a tape that I made in 2006 in London, wich is only bass. I’ve only made 10 copies of it and now it will be rereleased by the Berliner tape label Noisekölln. I will make probably more releases on my name, I have a lot of stuff. I hope that around November we will record our new album, we got a lot of songs but they need to mature still. What to expect to our new songs? They will blow your mind, I hope.
Mueran Humanos (translated: Death To Humanity) are the duo of Carmen Burguess and Tomas Nochteff, two Argentine transplants to Berlin. Together, they’ve incorporated visual art and industrial synthscapes while utilizing some driving, processed bass guitar in the proceedings; they’ve been called a garage-rock version of Chris and Cosey. Dark elements of Suicide, DAF, Soft Cell abound amidst Spanish lyrics, they’re less dancefloor and more expansive electro-psychedelia, and have a recent release on Sean from Cult of Youth’s excellent Blind Prophet label. They stop by to perform on Brian’s show today on their 2nd US tour.
New Band of the Week – 16/04/12 – Mueran Humanos
Scene Not Herd (UK)
Tonight, the deepest darkest depths of the scary basement in SNH’s shuttered up ‘ole mansion-house are reverberating with the eerie sounds of Mueran Humanos. Berlin based duo Carmen Burguess and Tomas Nochteff make music that is mesmiring and intensely dark. Guttural and pulsating synth melodies are layered upon creeping atmospheric bass lines. The effect is almost trance-like and brings to mind the old zombie movie soundtracks by bands like Goblin, but spliced with something more ethereal. Its the corspe of Beach House cannibalised by Lucio Fulci and soundtracked by David Lynch, and its pretty glorious stuff. Burguess has a captivating and timeless tone to her voice that works so well against this that it compels and bids you to walk those dusty boards down into the basement, and to stifle the screams as the unseen cobwebs brush your face. Mueran Humanos have a self-titled debut LP out now. If you don’t scare easily, we highly recommend it:
Mueran Humanos live on WFMU (Go to the link to hear)
Impose Magazine (US)
The Free Music Archive is hosting up a fabulous set (and interview with Brian Turner, if you are interested) from the Argentinian/Berliner couple Mueran Humanos. Bitter-seeming chants en Español (so they might be about unicorns and lollipops, I can’t tell) are sequenced over dark keyboards and spare drumbeats. “Monstruo” would fit in at any Manhattan goth-teen dance party, but the tracks are more than the sum of their parts, echoing krauty minimalism and even Swiss punk, however, let it be known that their album cover is probably my least favorite of 2011. (Ari Spool)
INCENDIARY SPEAK TO MUERAN HUMANOS (2012)
Incendiary Magazine UK / Interview by Richard Foster
Last year at Incubate Incendiary was lucky to catch a tremendous, almost revelatory performance by a band that we’d never ever heard of, Argentina’s Mueran Humanos. I think it’s safe to say that it caught a couople of us on the hop; and we weren’t long in snapping up their LP which is a classic of it’s kind; gothic, brooding and possessing an epic sweep and a clear sighted vision that’s all too rare. Anyway we got talking and after a little while we got Tomas and Carmen to answer a number of questions…
IN: You have a very confident, direct style. When we saw you last year at Incubate you seemed a mix of nonchalance and anger. Very confrontational. Is that fair?
Carmen: It depends on the humour of each one of us. On that day I was pissed off, what you perceived is correct. But it’s not like that always, sometimes I’m happy and smiling and Tomas the other way around. Its real feelings, not an act so it´s different every time.
Tomas: I dont function well in society, sometimes that makes me mad. In any case, a gig for me must be a real experience, I expect that when I go to see a band and I give that when we play.
IN: Your lyrics conjure up very strong imagery, a lot of death and sex and despair…
C: I don’t really think about sex when I work on a lyric. For the rest items you said, yes.
T: If you stripped down everything anyway, that’s what you get: love, sex, death, God. It appears in our lyrics because that’s how we see the world, I don´t see nothing particular on it, it’s just normal. What people usually don’t see on our work is its humour, starting with the name of the band, which is not literal! It’s a special kind of humour, though, close to Andre Breton’s definition of black humour, also drawing on Saki, Lewis Carroll and Max Ernst. It don´t make you laugh but attacks your conscience in a playful way.
Lyrics are important mainly for ourselves, we work a lot with them, we need to believe in what we are singing and it has to sound right. But I don´t think it’s essential for the listener, I think you can get into our music without understanding the lyrics.
For that reason we stick to Spanish, even if the majority of our audience can’t understand any. They dont need to understand, but it has to be real for us. If it’s real for us the emotion can go through the language barrier. I regard lyrics as spells, that start working when you forget their meaning.
IN: Tell us about the lyrics in Lions in China, they are very striking in their visual content
C: It’s the way my mind works, in images. One night we were on our room and I started to say those things about China, out of the blue, Tomas started to take notes, then we put music over it. The song is not really about China, or maybe yes it is.
IN: And there is a lot of religious elements and references in the lyrics. Why do you feel what is it in your background or personal circumstances that makes you want to mention this?
T: I was raised an atheist in a mainly Catholic country. My fathers were of the Argentinian 70s intelectual youth, all Marx, Foucalt and Freud, anti religion. In my house religion wasnt allowed or discussed, but I was always fascinated with it. I saw churches from the outside and dreamt about what was inside, I made my own religion, as a game, I made my own rituals, having hallucinations for a very early age, a DIY religion if you want. I was lucky, because in that way religion wasn´t related in my mind to social control, it wasn’t mediated by priests or gurus.
It was a direct experience, something you develop yourself. And for me is still the same, pretty much. We are not religious but we believe in the reality of many things that are usually considered “superstition”. And mysticism, myth, the occult, the supernatural are all parts of our work.
C: When my brother and me when we were children we used to talk to a black hole that we drew and hung on the wall of our room… I feel my self as a heavenly creature sometimes. What I like from religion is that it gives mystery the attention and importance that mystery deserves. People that believe in invisible things like God. In my own way I feel close to that.
IN: I don’t see you as a particularly Gothic band but there is an element of Gothic grandeur there, like Young Gods maybe. Know them?
T: I like some of their earlier stuff but they are a really masculine band, we are way more feminine. The thing I like about those bands, the Wax Trax stuff, EBM, etc., it’s the strong beats, I like strong beats in general: hip hop, dub, techno, whatever, but usually I dislike everything else about that music. I prefer Swans or Neubauten any day. To know what music we like you can check our mixtape here
Anyway our starting point wasn’t any scene or band, it was us alone locked in a house making sounds to trip ourselves, for 2 years we were isolated doing our thing, experimenting. Then we gone out, started to play live, made a record and release it, but the essence is the same.
I don’t understand genres. All music is the same for me. I like the sound of my washing machine, I sit down and consume it as if it is psychedelic music.
IN: You live in Berlin now is that right? Why did you feel the need to move from Argentina to there?
C: We knew each other in Buenos Aires but we left Argentina separately, I think both of us wanted to go out of the planet really. So, that’s exactly what we made when we started the band, when we met in Europe in 2006.
T: In 2008 we got here to play a couple of gigs and decided to stay. I just like it. Lots of trees, that’s good. People are quiet and I like that. Food is bad but music is good. And I prefer music than food. And Berlin treats us great, it’s been really supportive and really helpful for the band. The Berlin underground, I mean. That underground developed when Berlin was out of the radar of yuppies, trendsetters and trend followers, real estate speculators, etc. Now they are killing the underground.
Anyway, I didn´t feel the need to leave Buenos Aires, I love Buenos Aires.
IN: I’m sure everyone has asked you this but you bring it on yourselves by sticking such a striking image on your cover. Why the face with the vagina what does that symbolise for you?
C: The image is part of a series of collages called Seventeen, I made it in 2007. Its the number 4 of 17 modified covers of the American magazine for teens “Seventeen”. It was published as a book recently in Argentina.
T: We decided that it will be the cover of our first album before even recorded it, we both felt it was perfect for it immediately. Maybe because it encapsulates a balance between beauty and horror, natural and unnatural, normality and mystery that fits with our music. Everything in our work is dual and I think that image its dual too, it’s a tension that never resolve.
IN: What else. what other, non musical things inspire you?
T: We seek the unconscious, therefore we are not very conscious of what inspires us. To reach that we sometimes use techniques like collage, or cut-ups which make everything even more confusing so I honestly can’t tell where our work REALLY is coming from or what REALLY means. It means everything to me, but I can’t fully explain it. Actually, if you can explain it, why do it?
Blitz Gigs Berlin HBC Jan 28th live review (2012)
This is the fourth time I’ve seen the duo and while seeing them so repeatedly has been unintentional on my part, it’s been cool to have witnessed them evolve on stage over the past year. They are a musical Bonnie and Clyde – when they play they seem constantly on the brink of “something.” Will they fight? Will they make out? Will they storm dizzyingly into the audience? Using voice, bass guitar, keys and a myriad of synths and FX, they sweat and swagger through their intense, dark electronic songs. (Tristen Bakker)
Mueran Humanos by Heathen Harvest (2012)
Heathen Harvest
Mueran humanos is a symptom of an epoch and a distinctive example on cataclysmic Industrial from Southern minds in Northern territories. The authors, a duo, Carmen Burguess and Thomas Nochteff bring the morbid, claustrophobic and drugged atmosphere from the Berlin of the late 80s. The migration from Argentina to Germany just catapulted the isolationist perspective they originally conceived in their motherland, consolidating this hopeless sound with psychotic undertones and unhealthy atmosphere that characterised part of the conceptions from some sector of industrial and avantgarde music at the time.
Nevertheless the obscurity and bleakness imprinted behind the minimalist post punk-Industrial construction developed by the band is very rich and impressive for the lover of old post punk flavours or new electronica avant-gardist searcher. Obsequent with plots and narrative the band delivers images born of a vivid storyline in a grotesque surrealism environment that is equally emotive and delusory track by track, perhaps being the most memorable ones the sadistic opener “Horas tristes”, choosing well the accompaniment of a midpaced rhythm that increases this atmosphere of mind confinement and physical uneasiness, a clear symptom of angst and misanthropic desires so tasty for the post industrial coinosseur. The dark surrealism evoked in “Leones en China” and its paralyzing and tense lyrics or the candid-child like horror story behind “Monstruo” somehow pay homage to a literary handcraft and creative use of the spanish language.
Its clear that the band diverts and play no allegiance to any form or influence, rather picks a well established set of ideas that they have been experimenting with since the 80s with various forms and structures and now consolidate them under the ruthless course of a rythmic box, analog synths, minimal beeps and the changing the shape of the classy post punk ensemble with the bleached chords of guitar and heavy bass lines granting this perennial flavour of ostracism and outrage, delirium and lucidity that results quite rich and powerful.
All in all Mueran Humanos album debut constitutes one example of modern post punk with a raw edge on minimal electronics and with the pace of an industrial opus, not comparable, not compromised but very sustainable with the contemporary times, somehow adapted to a peculiar vision, only known by its authors which ultimately grant its own personal touch and originality. Regarding the music its minimalistic approach, half way machines Vs instruments using the post punk formula synthesize some kind of candid perversion, polymorph but rutilant that fits perfect with the uneasiness of the soul from modern men. Tasty. (Dyonisian Apollo)
Mueran Humanos: brilliant, dark keyboard duo (2011)
Louder than War UK / Incubate Festival live review by John Robb
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. (John Robb)
Listomania: 18 Dark Bands To Watch In 2011 (2011)
Stereogum
Things are still definitely drifting into black in 2011, so I thought it made sense to put together a list of some of the best “new” bands making sounds in those shadows. Not all of the groups were formed in 2011, no, but most of them are poised to leave their biggest mark in the coming months. (Brandon Stosuy)
Featured Stories (2011)
Stereogum
Berlin via Argentina couple/duo Mueran Humanos open up their dark, danceable self-titled debut with “Horas Tristes”, a slinky, slow-builder that gains momentum continually across its nine minutes. Mueran don’t stick to one particular style, though through a blend of Krautrock, noise, punk, electronica, industrial, and lyrics sung in Spanish, they maintain a definite atmosphere. (Their one-sheet’s description of them as “a garage rock Chris and Cosey” works.) To give you more insight, the vinyl edition of the album’s out via Blind Prophet, the label run by BTW Cult Of Youth’s Sean Ragon, and the first 78 copies arrive(d) with a “randomly selected” card from a German edition of Aleister Crowley’s Thoth tarot deck. (It’s out on CD via Italian industrial label Old Europa Cafe.) Take a listen to “Horas Tristes”. (Brandon Stosuy)
Other Music NYC (2011)
Record release show at Wierd NYC / live review
A few weeks back I stumbled across this Argentinean band in a live setting, in the best sort of scenario imaginable. Many friends were in the audience telling me I had to check them out (including Sean from Cult of Youth who put this LP out after discovering them on Myspace), the mood in the room was great, and suffice to say, these guys fully blew my mind, bringing many influences together in a way that I digested eagerly but couldn’t quite place right away (that’s always a good sign). The songs are built on a primal throb that immediately draws you in, as the atmosphere slowly but surely climbs and builds around it, with male and female voice, synth, incessant plodding and in-the-pocket basslines reminiscent of both the Fall and early Wire. But Mueran Humanos reach beyond the typical post-punk ghetto, with genuine roots in basic rock and roll as channeled by the Stooges, Cramps, Gories and Dead Moon — all different sounding bands, I know, but nonetheless unified by an undeniable devotion and understanding of rock and roll. And now add in the primitive art rock of Rema Rema and a soaring late-Swans-like beauty with a slowly revealing outpouring of passion, and you start to get the idea. I was hearing an ideal, living mixture of cold/passionate synthwave post-punk with a strange blend of non-urgent but still balls-out rock. These songs really must be listened to in their entirety; as a track progresses, the rhythms inevitably build and climb into another zone altogether. For Mueran Humanos, catchy coldwave isn’t just about being cool and putting on airs; this stuff slowly builds, shifts and builds some more, often until the band is shouting and chanting the chorus in unison with the listener swirling somewhere in the middle of it all. It’s especially awesome to hear this music move into such transcendent territory considering the trappings: guy/girl couple, from Argentina, living in Berlin, synth, drum machine, bass with and without distortion — let’s be honest, it sounds like a potential electro-fashion clusterf*ck, but believe me, it is definitely NOT that. Hear and believe, this is the real deal. Top ten material, and highly recommended. (Scott Mou)
Mueran Humanos: Bringing Buenos Aires to Berlin
German Embassy in US
Mueran Humanos is a man-and-woman coupling from Buenos Aires, who have brought the heat of that city and the casual but steamy friction in any male/female duo to the gritty creativity of Berlin. Their self-titled debut record on Old Europa Cafe (CD) and Blind Prophet Records (vinyl) builds post-punk, some-wave songs out of steady bass, synthesizer melodies and sometimes male, sometimes female, always sultry vocals.
In doing so, every song follows a pattern of pulling you in with ductile ease, then building up, with more sounds and more intensity, to some almost tribal outro. And that pattern normally works for them. Like on “Leones in China,” which starts out sensual, repetitive, minimal, even engrossing. Then it gets louder, reverb is applied and every sound jumps in before the song jumps out.
The Stereogum blog called Mueran Humanos “a blend of Krautrock, noise, punk, electronica, industrial, and lyrics sung in Spanish, they maintain a definite atmosphere.” On their debut they do indeed mix elements of these styles, while belonging to none of them; for instance, their first EP does not fully harness the electro-psychedelia of krautrock, nor, unless live, approach the noisy, electronic din of noise music – nor even of noise pop. And despite the ever-present guitar, in most moments they sound like a darkish, synth-pop band that wades into minimal wave at times.
However it is much more instructive to look at the elements within the music. Therein lies the afore-mentioned slow, build-up pattern. And therefrom comes sterility on some tracks. “Cosméticos para Cristo” follows said template to, this time, hum-drum places. “Altar Hogar” actually begins as a chanty, lazy duet hovering over high-end distorted guitar; but then it loses it by raising a sonic mountain and razing the song’s early effects. That being said, the effect of this crescendo can be something to behold live (see video below for instance).
And it can also result in great cuts like “Festival de los Luces.” The bass and synthesizer in this one create a real 80s feel; atop this is a sexy duet, seductive but also suggestive of exclusivity, like a doorman is allowing you to listen, but not touch.
Although the songs on Mueran Humanos’ debut can be a bit prescriptive, overall the record is good. If you’re in Berlin you have no excuse not to see how this torrid duo play off one another onstage, and how they mix, like the hot and cold water in the shower, their romantic Argentinian roots in the industry-hard, sweaty clubs of the capital.
20 Jazz Funk Greats – UK // Reviews 2011 to 2009 period
1- Mueran Humanos Podcast (2011)
The mixtape awaiting for you at the end of this merciful handful of lines was arranged by our beloved Mueran Humanos, it unsettles like a collage of the eeriest mysteries and aberrations off Arthur C. Clarke’s Mysterious World stitched upon the morphing walls of the corridor through which his astronaut transitions into starchild, or like a collection of sounds found via a random walk across the radio-waves of the demon-razed Earth that Hope Hodgson described in The Night Land. What a beautiful abyss!!
2- Paranormal Beauty Contest: Best of 2010 (2010)
The dead are not quiet in Mueran Humanos album. Within, walls continue upright, bricks meet, floors are firm, and doors are sensibly shut. Silence lies steadily against the wood and stone. And we who walk here… walk alone.
Some time ago we had the perverse pleasure of introducing you to the macabre delights of Mueran Humanos. Theirs are Gothic echoes of Argentina, from Argentum, latin for silver which kills werewolves, and sometimes vampires too, but also the material of which the knives wielded at satanic masses are forged, echoes we say, echoes that spread across the authoritarian landscapes of Possession-era Berlin like ink stolen from an apocryphal sequel of the house of leaves, now set in pock-marked concrete whence mouths stretch agape frozen in a silent shout. Remember the dazzling urban landscapes of Demons? You should, smudge them with a layer of surrealism straight off a Lynch noire and slip into unsettling dreams where a coven of devilishly handsome cyphers stare at you in silence, stern examiners in the viva voce for a doctorate in the dark arts, with telepathic tendrils which are Leones en China they scour your mind in a psychic carpet-bomb operation worth of Spacemen 3′s esoteric brethren. Over the conflagration levitates disembodied Carmen, like a Death’s Head Hawkmoth, her croon that of a rapporteur broadcasting from a dantesque scenario of satanic distortion and fluttering raven wings…
4- Mueran Humanos in Teufelsberg video (2010)
What follows is a minimal version of “Monstruo”, from their début album on Old Europa Cafe (who insightfully name-check Possession in their write up). Seemingly recorded at twilight the Berlin cityscape spreads, vertiginous, out behind them through a breach in the domes wall. The pale light brushing over their faces or, just as likely, casting them in silhouette depending on where Báez moves his restless camera.
Mueran Humanos seductive dirge sounds like the missing link between La Dusseldorf and a squadron of cadaverous 4AD artists, or Indian Jewelry performing a macabre tango, like black raven wings spreading from a shadowy corner in your messy bedroom, dark bliss palpitates alluring hidden inside a shroud of cobwebs, perhaps 20JFG’s new favourite band for days of torrential rain and wind whistling malevolent against the rattling windows of the decaying Victorian manor where we dwell despondent. Horas Tristes is a funereal march across the long empty corridors of a Berlin apartment where time and space stretch supernatural like the shadows hiding Catherine Deneuve’s nightmares in Repulsion, cracks bloom in the walls like the buds of poisonous flowers, a TV screen at the back stares back at you, lost in a graveyard of death channels interspeded by snippets of black and white surrealist hallucinations, cruel razorblades slide shiny eyeballs, not nice, but beautiful.
Cosméticos para Cristo (2011)
Altered Zones
We first heard about Argentina-to-Berlin transplants Mueran Humanos on Pendu, where we saw their psychedelic taxidermy video for “Monstruo”. With alluring synth grooves culled from the darkest musical stylings of both sides of the pond from a few places that might not be on maps anymore, “Cosméticos Para Cristo” takes the band’s heavily melodic, layered approach to a simple framework that’s strongly reminiscent of early industrial. A singular, throbbing pulse supports an ever-growing canopy of synths, while the crisp drums faithfully hammer out hypnotic beats. As acidic, distorted parts creep to the forefront of the mix and the vox transforms into menacing chants, the two-fisted energy of the track is set loose, only to fade out soon after, creating a whole different type of tension. (Luke Carrell, International Tapes)
Recent WFMU New Bin faves
WFMU
Mueran Humanos (Die Humans) is a boy/girl duo from Argentina via Berlin who manage to combine a dark synthwave heart with muy rockismo guitars & fuzz-bass and an effortless pop sensibility. Like their sexy-trashyglam-slasherfilm visual aesthetic, the wrappings are aloof, cold and violent, but the melodies are often sophisticated and pretty. Best case in point is the brilliant slow-burn of album-opener “Horas Tristes”, an 8-minute piece of carefully constructed patience featuring dub percussion, kraut guitars, horror movie organ, a lovely vocal chorus and perfectly timed development of layers and events. References to Suicide, Ilitch, and Chrome are made explicit in the fine mixtape the band put together for the 20jazzfunkgreats blog (dl it here) but I also hear strong (surely accidental) echoes of the great early-oughts multi-national San Fran band Troll (anyone remember them?). Members Carmen Burguess (synth / vox) and Tomas Nochteff (bass / vox) sing entirely in Spanish. Carmen’s beautiful yet horrifying collages provide their album artwork, while Tomas contributes the menacing charisma of a creepily handsome cross between Joe Strummer and Costes. Both are great screamers. Listen to “Horas Tristes” (stream). (Scott Williams)
Dusted Features (2011)
Dusted Magazine
Sean Ragon, of Cult of Youth and the Blind Prophet label, sent a really nice note exclaiming his love for this newest release of his. I can’t blame him for the gushing – this one is something special, a co-ed, Berlin-via-Buenos Aires duo that distills a fairly wide set of inspiration (minimal synth, Goth, electro-cabaret, post-punk, rock ’n’ roll) into a seamless, seductive whole. Part of my problem with the whole throwback/min synth revival is the limited palette by which many of the artists who fly the flag find themselves obligated to carry. In less-experienced hands, this sort of mindset can produce great boredom. NONE of that is on display here – Carmen and Tomas play with synths, guitars, basses, and drum programs to novel and passionate ends, employing familiar and even tongue-in-cheek sounds (check the faux theremin tuning up the sex pulse in the slow rocker “Corazon Doble”) to a dark and beautiful end. There’s a lot to uncover in this one, and even the most jaded electro fans will likely be surprised at the level of craft and creeping filth seeping out from around the edges. Don’t let the garish cover art set you off; maybe turn this record around when guests are coming over. But definitely turn it on, and let it turn you on. That unexpected orgy with your closest friends is right around the corner. Next to the new Silk Flowers album, 2011 will be very hard pressed to repeat this kind of quality in electronic-based music. 1000 numbered copies, www.blindprophetrecords.com. (Doug Mosurock)
Mueran Humanos / Blind Prophet (2011)
The Agit Reader
The sultry, southern hemisphere romanticism of Argentina and the mechanical European minimalism of Germany is not a pairing one would suggest as “two great tastes that go great together”, yet Mueran Humanos find a way to make it work, bridging the disparate gap between the thousands of miles that separate their native Buenos Aires and their adopted base of Berlin. The duo of Tom and Carmen seems to thrive on this juxtaposition. There’s an inherent sexual vibe running through their blood and their performance and an ingrained detachment in the electronic beats and blunt synths they use to compose their debut album. The tension doesn’t exist between man and woman, but between man and machine, and eventually all of those tight knots and lock-step rhythms melt into each other, making for quite a unique—and entirely foreign—experience. It shouldn’t work: the pieces don’t fit and the first instance of this alienation comes in Tom and Carmen singing in their native Spanish. Their name roughly translates to “die humans”, but it’s hard to imagine such a nihilistic motif for a band that coos like a magnetic tango in the night. Though the dusty thump of the buzzing bass and the systematic drums that center most of the songs here might suggest black leather and sunglasses at night, there’s a sensuality to the vocals that also suggests a bleeding heart marked by motley streaks of red and neon across their faces. This is not a death march, but as you read through the translated lyrics, the duo reveals a mood even more self-deprecating and macabre than can be gleaned by the music. This is dark by design, but a line like “When you leave”, when our bodies part. When they decay, when you leave,” kind of reads like a teenage goth’s slambook. Honestly, it’s best to stay away from trying to interpret the meaning and instead get lost in the cyclical grooves that stem from an almost telepathic connection between the couple. “Horas Tristes” is eight full minutes of slow burning, syrup-shifting, brick-by-brick minimalism. It’s unnoticeable as each new layer is added—a bit of cathedral organ pulsing in the back, a two-note guitar line fluctuating in and out of the foreground, ethereal voices joining Carmen in her sermon—until the finale of fuzz and choral revelations. It’s the ideal entry point to Mueran Humanos. “Horas Tristes” is a song built with half assembly-line robotics, half fleshy yearning and emotional heft. The debut as a whole is a deft balance of these two sides, similar to everything from the trip-hop of Portishead to the cold, new-wave misery of Suicide and early Human League. For each moment of brooding psych noise and extended measures, as on “Leones en China”, there’s a claustrophobic dancefloor smugness to a song like “Cosmeticos Para Cristo,” proving the underground clubs of Berlin have rubbed them the right way. (Kevin J. Elliott)
Even at a time where technology and digital media has considerably reduced the barriers that would keep music, and culture in general, to a certain extent tied to a their geographical context, it’s still both difficult and careless to ignore the influence of this context over a specific production. For most publications writing about Mueran Humanos, an Argentine couple based in Berlin, it’s precisely their move from New World to Old World that has raised some eyebrows, primarily in how their music seems so tied to the musical heritage of Berlin and Gemany, despite them not totally dismissing their Argentine roots by writing their lyrics in Spanish.
Part of Italian label Old Europa Cafe and its roster of industrial sounds and dark ambient styles, the album was released in America through young label Blind Prophet Records. And it actually hit our radar through the attention it received from popular tastemaker sites like Stereogum and Altered Zones, thus fitting under the incredibly wide spectrum of what could be rashly referred to as dark music influenced by the post-punk era. Which is probably the kind of music you’d expect from a band whose female half is known for making gore collages out of preexisting photos, hence the album cover, that I would have probably described in very uncreative fashion as “a very fucked up portrait.” But, thankfully, Carlos Reyes managed to put it better as “that Bloody Mary, dissolved, almost vagina-looking cover.”
Initial track “Horas Tristes” sets the cadence for the rest of the album: throbbing beats, and hypnotic sinister synth lines gradually leading the way to a burgeoning guitar strumming as Carmen Burguess delivers horror tale-like readings that finally culminate in the luscious chant, “cuantas horas tristes serán.” That last line then sees itself morphed into a discordant replication, and the track gains in dissonance all the way into its uproaring climax, as Mueran Humanos display their affection for abrasiveness, aggression, and lyrical provocation. Probably the main reason why most people talking about the duo insist on how Berlin, and its role in the development of krautrock, industrial music, and techno, fits so well as a shelter for the Argentine couple.
One might also easily see this as being in hand with the duo’s unearthly aesthetics, as most of these musical references refuse, or at least try to separate themselves from, the effortlessness and melodic appeal of pop music in general (though without wanting to explore the limits of noise either). Yet, in their greatest songs, Mueran Humanos actually find their beauty behind the heavy melodic work in their use of vocals and how it eventually manages to share pop music’s desire to gratify its listeners by treating them to something that is ultimately very pleasurable to listen to. Just like “Festival de las Luces” or “Monstruo,” and how they use that industrial minimalist instrumentation, the occasional ’80s synth lines, and the doomsday scenarios (“Llueven autos…..llueve sangre…”), all in aid of the pleasure that is given by their use of vocals. Because behind all the macabre scenarios, dissonance, and overall stiffness to approach, Mueran Humanos is simply a record that’s very enjoyable to listen to. (Pierre Lestruhaut)
Either I have no frame of reference for groups like Mueran Humanos, or such references don’t exist, as they are a synth-based duo who sound like few other synth-based duos going today. Picture something like Martial Canterel with half of the instruments/loops removed, the tempo dropped considerably, the frequent addition of guitars and other rock instrumentation, spoken-sung male/female vocals in Spanish, and you’re starting to get warm. Each song is like a pleasant dirge in its own way – spacious, clean and totally committed to the idea at hand, trawling a uniquely morbid worldview. All these songs are pretty long, yet Mueran Humanos never gets exhausting or boring, probably because I’m constantly curious to hear what they’ll do next (it’s not unlike a track to start with a basic synth melody and then slowly morph into a doomy guitar-based composition). It’s almost like they’ve got a Velvets-y approach to songwriting, just kind of confidently jamming on an idea with little listener regard and sounding cool as hell while they do it. Blind Prophet is tapped into some particularly obscure veins, and I for one am pleased to reap the benefits when it comes in such an oddly desirable form as this.
Official Video for Monstruo by Mueran Humanos (2011)
P E N D U NYC
Mueran Humanos are a band from Berlin via Argentina blending sounds and moods syncretically like highly-developed musical alchemists… Enjoy! They are embarking on a tour of the US starting February 16… complete show list here. Video by Chini (You Are So Overrated) for “Monstruo” by Mueran Humanos, from their debut album, out now on CD on Old Europa Cafe (Italy) and coming soon to Vinyl on Blind Prophet Records (Label run by Sean Ragon of CULT OF YOUTH) 2011. (Todd Brooks)
Awesome Shit (2011)
Drippy Bone Books
From our friends in Berlin via Buenos Aires and multiple WHORE EYES Comp contributors Mueran Humanos recently released self-titled record is quirky, creepy, catchy, and pretty fuckin great! Heavy riffs, noise, strong vocals and eerie organ create grooves which Carmen Burguess and Tomas Nochteff sink into and then tear apart from the inside out. Plus its cover is stunning -by Carmen Burguess-. (Keenan Marshall Keller)
New Track from Mueran Humanos (2011)
Austin Town Hall
One of the great things about the Internet is that you can hear all sorts of crazy things from around the globe, which is the exact case with Mueran Humanos. The band’s name roughly translates to Die Humans, so I mean, you’ve got to appreciate that sort of bold statement. Musically, the duo, who come from Buenos Aires, use a moody electronic element to hash out their sound, giving us this first single titled “Festival of Lights”. There’s definitely a throbbing dance club element buried in this track, so if you like it, be sure to go find yourself a copy of the group’s self-titled debut from Blind Prophet Records.
S.S. Records titles (2011)
SS RECORDS
I’ve been following Mueran Humanos for a few years and it is great to finally have something of their’s on vinyl. Mueran Humanos play with synths and electronics but happily haven’t trapped themselves in an electronic box. They draw from min synth, electro, EBM, sure – but they also bring in psych, krautrock, early industrial sounds and even garage rock. In that way, they are like our beloved Cheveu, but in sound they’ve got their own thing going. Great tunes in the most provocative covers I’ve seen in quite a while. Hand numbered. (Scott Soriano)
LEM Experimental Music Festival BCN (2007)
Mueran Humanos is a joint project by Tomás and Carmen, two Argentine musicians addicted to spreading infectious psychophonic melodies and jet-black poetry, as suggested by the band’s name – Die Humans (“the only imperative we all have to obey”). A dark, gothic performance with strains of lyricism and pop, their stunning musical act is built on electric nightmares and cruelly surreal landscapes which speak of cannibal pigeons and sensual interludes in hell. A small-scale apocalypse for sensitive, sick minds. (Victor Nubla)
This Argentine duo have managed to produce a moody piece of post punk wave; focusing on the traditional instruments of the sound. Electronics wait in the wings on this LP, working in the background of the stage. Rarely is my girlfriend shocked by a record that comes through the door. Sure maybe something with pretty explicit lyrics might get a comment, or some of the harder techno or acid that wanders in. When Blind Prophet Records’ latest came out of its cardboard envelop it wasn’t the music that lead to gasps, but the artwork. I’ve got to admit, it’s pretty objectionable stuff; an atypical 1950′s American housewife with her face removed and a violent gash substituting features. Welcome to Mueran Humanos and their self titled debut LP. But beyond the artwork, what is the album about? “Horas Tristes” opens the account, slow and powerful piece of rock with heavy distortion and harrowing vocals. “Festival de las Luces” follows in a similar suit, with strings and voice being the backbone of the piece. Some analogue chords lurk in the background, but this is ultimately an unsheathed rock track. “Corazón Doble” sees some of the industrial undertones come to the fore, the track blitzing into all out sonic abstraction. These industrial currents are carried into “Leones in China”. Arching strings are at the center, lurching and prodding the listener as vocals take a backseat. “Monstruo” is a catchy and playful piece, with synth chords wrapping themselves around strings. Minimalism sees Mueran Humanos out with “Exito de una ex Santa”. This terse piece is one of my favorites from the album. Deceptively simple the track is a fantastically bare and primal piece with raw vocals and vocoders to boot. Mueran Humanos came out on Old Europa Cafe in 2010, but now is getting a vinyl audience on BPR. The sound of Mueran Humanos is not one I would instinctively gravitate towards, being more string and and drum based rather than synth and beat. But, this Argentine duo have managed to produce a moody piece of post punk wave; focusing on the traditional instruments of the sound. Electronics wait in the wings on this LP, working in the background of the stage. As BPR grows it is taking on new and ever more interesting aspects; this is a contemporary label seeking out modern sounds with an experimental and vintage twist. (Robbie Geoghegan)
Hypnotic dirges with minimal beats, effected bass and a general sense of gloom & doom make this m/f duo a powerful member of the group. Singing together almost in chants as if threatening the audience in Spanish, their songs have a subversive intensity and mystery unique to their band.
Berlin’s loveliest depressives Mueran Humanos: they’re fucking ace. Like Diamanda Galas meets Japan but with more guitar. Classy stuff.
Castellano
Siete Canciones para olvidar el 2011
La llama y el vagabundo
“Horas tristes” anuncia su abismo desde las primeras percusiones: estamos aquí para hundirnos, para padecer miedo, para recordarnos que todos los días, en la rutina doméstica o en el espacio amoroso, vivimos en el apando. El poema es casi narrativo: “Los pasos en la casa no me dejan tranquila / y espero no caer cuando me vaya / pacientemente espero que se quede dormida / dormida” o “Igual que en la TV colgué una soga de sábanas / y espero no caer cuando me vaya /cuando me vaya: / horas tristes”. Así en la vida como en el apando: estirándose las horas de la mañana a la tarde a la noche y otra vez a la mañana, circularmente, una y otra vez, hasta el fin de los tiempos. (por Alonso Ruvalcaba)
Trastorno Bipolar: diskazo o diskucho? (España 2012)
Trastorno Bipolar
A caballo entre Buenos Aires y Berlín, la agresiva petulancia argentina convertida en sublime desesperación del dúo Mueran Humanos se ha visto materializada por fin en un tremendo álbum de debut, titulado como ellos. Mueran Humanos garantiza, como te puedes imaginar, la secrección sin pausa de asco existencial y rabia de ser vivo en cantidades industriales.
Abre el disco ese temazo llamado “Horas Tristes”, sin duda la mejor canción que he oido nunca desde tierras argentinas. Pero junto a ella, “Monstruo”, “Cosméticos para Cristo”, “Leones en China”, “Corazón Doble’, “Festival de las Luces” y los veinte minutos industriales de “La Langosta” te aseguran un hundimiento en la rabia y la nausea absolutas. Mueran, humanos, mueran.
Lo + Mejor
Todas los temas mencionados y, muy importante, el tan repelente acento porteño, es ideal. ¡SHUEVE SSSANGREEEE!
Lo + Peor
Las letras, que a veces producen cierta dentera.
Mézclalo con…
Cabaret Voltaire, Nurse With Wound, Einztürzende Neubauten, The Fall, ya sabes, gente maja para que éstos le den el momento pop.
¿Diskazo?
Seeeeeh.
Escúchatelo por…
Tu cuenta.
por Psychotica
Hellow Entrevista a Mueran Humanos (México 2012)
Hellow Magazine
Mueran humanos es un proyecto de arte conformado por el dúo dinámico: Tomas Nochteff, y Carmen Burguess. Su música podría ser definida de muchas maneras pero es mejor escuchar sus temas para poder apreciar su pesado y oscuro sonido. No es difícil darse cuenta que son una de las mejores bandas contemporáneas por sus infinitas cualidades . Son de las agrupaciones que están detrás de toda el arte que imprimen en sus videos, collages, publicidad, merch, flyers, etc.
Sus disqueras son Old Europa Cafe (It), Blind Prophet Records (USA), Vanity Case Records (UK), Louder than War (UK), Vale Vergas Discos (MX).
¡Próximamente estarán visitando México, no se los pueden perder!
(Entrevista en el link)
Avantt entrevista a Mueran Humanos (Argentina 2012)
Avantt Mag
Desde Alemania, el corte synthpunk argento se hace oír con fuerza de la mano de esta inigualable pareja porteña. Con ustedes, Mueran Humanos, una promesa pronta a cumplirse.
por Luz Laser
(Entrevista en el link)
Conocé a Mueran Humanos (Argentina 2011)
Rolling Stone
Mueran humanos no hace cancioncitas, “hacemos vudú”, se jacta Tomás Nochteff acerca de la dupla de rock avant-garde que compone en el exilio junto a su mujer, la artista plástica Carmen Burguess, en los bajos fondos de Berlín. La pareja usa un bajo garage con mucho fuzz, sintetizadores estilo Suicide y canta a coro en español bonaerense, sin demasiado reparo en que las audiencias no comprendan el lenguaje: “Es más real así”, dicen. Esto no impidió que su primer disco, homónimo, fuera editado en Italia por Old Europa Cafe y en Estados Unidos por Blind Prophet Records, en vinilo, lo que los llevará en breve de tour por Nueva York. PRONTUARIO Burguess tocó teclado en Mujercitas Terror y Nochteff (venerado por parte de la escena post-punk rioplatense) es ex bajista de Dios y Travesti. Mantuvieron una amistad en Buenos Aires, hasta que cada uno decidió radicarse en Europa. Primero marchó Nochteff. “Si hubiera podido, me hubiera ido al espacio exterior”, jura. Lo siguió Burguess, igual de alienada. RELACION Corría abril de 2006. El, a pesar de que estaba en pareja, la fue a buscar a un aeropuerto donde sellaron inmediatamente su pacto. “Desde ese momento, nunca más nos separamos.” La alianza acarreó recelos. Pronto encontraron cientos de agujas en el colchón que compartían. “Siempre vamos por el camino cenagoso. No creo que sea posible resistir sin nuestro amor”, afirma Burguess, que paralelamente a Mueran Humanos empezó a crear collages gore sobre la base de fotos de moda, material forense y de cirugía estética, e ilustró publicaciones prestigiosas como Quimera. Ahí en Berlín, Burguess y Nochteff salen de casa casi exclusivamente para subir a tocar. “Para nosotros, tocar es como ir a la guerra”, dice Nochteff. “En ese momento el escenario es nuestro y somos los déspotas. Te sometés o te vas, se acabo la diversión… Te vamos a violar”. (Fermín Solana – HPLE)
El rock bi (Argentina 2011)
Página/12 – Suplemento NO
A pocos metros de esta misma mesa, el año pasado un músico de zapatos blancos se lanzaba del escenario y empujaba a un público que quedaba perplejo al ver que alguien tan elegante podía tener una actitud tan poco complaciente. Se trataba de un recital de Mueran Humanos, otra propuesta que encontró en el exilio una opción al corralito creativo. Si en los ‘90 Tomas Nochteff dejó una marca con Dios (un trío también poco convencional, de bajo, batería y una voz que clamaba en el desierto) y fue el principal responsable del mejor disco grabado en portaestudio del rock nacional, en su nuevo proyecto aparece en una faceta de alquimista del sonido, ayudado por una congregación de productores: Shaun Mulrooney, Mark Stewart (de The Pop Group) y Mark Boombastik. Ahora muchos van a poder apreciar mejor el espíritu vanguardista que Tomás siempre encarnó en sus proyectos, hasta en su breve paso por Travesti antes de emigrar. Pareja también en la vida privada y dúo artístico en el escenario y en su fascinante universo artístico paralelo, Tomás y Carmen encuentran en el Apocalipsis nuestro de cada día una excusa para refugiarse e inmolarse en el Altar Hogar (tal como lo bautizan en una canción de su último disco). Desde su exilio en Berlín, Tomás Nochteff y Carmen Burguess (tecladista, poeta visionaria y artista plástica inquietante) empezaron en 2008 a realizar perfomances y a desarrollar un sonido post-punk, electrónico, industrial y adictivo. “No tenemos ni idea de qué es lo que pasa en Berlín, tenemos nuestro propio mundo y el disco es el fruto de ese encuentro entre el mundo de Carmen y el mío”, explica Tomás. Mueran Humanos no se parece a nada, aunque funcionaría como banda de sonido perfecta para los suicidios colectivos de los Lemmings, esos pequeños roedores que, periódicamente, se suicidan arrojándose a algún acantilado. La vanguardia es así. (Santiago Rial Ungaro)
Chica de tapa (Argentina 2010)
Página/12 – Radar
Cuando se fue a España en 2006, había sido parte de la banda Mujercitas Terror. Allá, empezó a filmar y creó la banda Mueran Humanos. Sus instalaciones, muestras y shows les valieron una reputación en el under barcelonés. Y ahora, sus muñecas y sus intervenciones gráficas, que causan furor en Internet, sólo vuelven cada vez más conocido lo que late en ella hace muchos años: el mundo alucinante que un día descubrió en San Telmo.
Carmen Burguess dice que siempre tuvo visiones, que se le presentan “naturalmente”. Que tuvo una infancia alucinatoria en San Telmo junto a su hermano Justo, donde construían mundos/sets en su cuarto, donde las muñecas eran juguetes –pero podían ser otra cosa–. En Buenos Aires, Carmen solía tocar el teclado con la banda Mujercitas Terror. Pero en 2006 se mudó a Europa. Llegó a Barcelona hecha pedazos, “con un dedo del pie aplastado de la noche anterior, que fue mi fiesta de despedida”. En el aeropuerto conoció a Tomás Nochteff, músico argentino errante que supo editar discos admirados por el under local, además de un recordado fanzine llamado Mueran Humanos. Así se llama la banda/dúo que Carmen forma con él: es que no se separaron más desde ese encuentro en el aeropuerto. Y el principio de la vida juntos fue puro encierro en el dorado verano catalán: “Estuvimos mucho tiempo creando nuestro mundo, por unos años apenas salíamos o mostrábamos lo que hacíamos. Mueran Humanos es el punto de intersección entre mi mundo y el de Tomás. No empezamos como un grupo de rock. Cuando empezamos a vivir juntos en una ciudad soleadísima como lo es Barcelona, nos pasábamos el día encerrados, yo filmando películas y Tomás tocando. En ese momento no teníamos un proyecto de banda de rock, estaba todo más mezclado. Así fue que debutamos con una instalación que se llamó ‘El Funeral del Cadáver Luminoso’. Fue la primera muestra de nuestra unión ante un público. Fue más que raro. Había un ataúd y una voluntaria adentro ejerciendo el rol de muerta. El ataúd estaba abierto y lleno de luz que atravesaba desde el fondo el vestido de la chica y resplandecía hacia fuera. De cada lado formando una cruz estábamos nosotros, cada uno tocando su instrumento. Una cámara capturaba la escena desde los pies de la muerta y a su vez se proyectaba en la pared de fondo lo que tomaba la cámara. Así se formaba el efecto feedback (el mismo que se ve al enfrentar dos espejos) que nos daba una multiplicación infinita de la escena en dirección imposible a través de la pared de fondo, el camino de la muerta. La música era más abstracta. Con el tiempo nos enganchamos con hacer canciones. Los shows son diferentes entre sí, porque nuestros temas tienen una estructura abierta. No sabría decir cómo son nuestros shows, pero entramos en una especie de éxtasis. Algunos lo llaman divertido; otros se quedan re serios: para mí es sexo e hipnosis”.
A uno de los shows de Mueran Humanos fue el escritor Javier Calvo. El contactó a Carmen con Mondadori, y ella acabó ilustrando la tapa de su novela Corona de flores. Y después, ilustraciones de pequeñas muertas para un cuento de Mathias Enard en la revista Quimera. Influencias del surrealismo pop de Los Angeles (Ray Caesar, Mark Ryden), también de Edward Gorey, pero con un toque personal ensañado, hormonal, esotérico.
El hospital de las muñecas:
Una mañana, en Buenos Aires, a Carmen Burguess la chupó Alicia en el país de las maravillas. No es un eufemismo: “Iba por más de la mitad cuando lo volví a abrir. No llegué a leer dos líneas y mi espíritu comenzó a ser aspirado hacia las páginas, literalmente. Durante un instante disfruté del vértigo pero inmediatamente mi lado normal me impulsó a cerrar el libro y salir corriendo a la calle. Corrí hacia donde hubiera gente, me subí a un colectivo en cualquier dirección y me bajé a las dos cuadras. Corrí una vuelta manzana, miraba todo tratando de distraer el terror. Durante dos años me lamenté por haber cerrado ese libro, cada vez tenía más claro que lo que quería de la vida era justamente lo que mi lado normal había evitado al cerrarlo. Hay túneles por donde ir”.
Y en esos túneles aparecen compañeras. Como las muñecas y las mujeres de sus collages, con sus rostros destrozados y sus cuerpos retorcidos, alguna vez bellas quizá. “Las muñecas son alguien. Cuando encuentro una puedo ver enseguida quién es ese alguien. Me las llevo. Si me cae bien la dejo libre por la casa y si me cae mal la ‘modifico’ y pasa al staff de ‘Mutiladas’.” Las muñecas que usa para las esculturas fueron, por lo general, encontradas en la calle. “La mayoría de los objetos los encontré en la basura cuando vivía en Barcelona –ahora vivo en Berlín–. Por ser más bien pobre tengo desarrollado el chip de encontrar las cosas de valor que tira la gente. En Europa la basura es color de rosa. No es ‘basura’. Recuerdo una foto que vi de unos niños en Africa: muchos niños sobre una montaña de basura; uno de ellos sostenía un brazo humano descompuesto y miraba a la cámara. Mis hallazgos serían el extremo opuesto de esta experiencia.”
Espejito, espejito:
El trabajo más impactante de Carmen Burguess hasta el momento está a tres tapas de llegar a su conclusión. Se trata de una modificación serial de portadas de la revista Seventeen, tan brutales que ya recorren Internet, linkeadas por sitios que encuentran diamantes en la red. “Hubo mucha saña durante el proceso de trabajo en cada una de ellas. Hubo recuerdos de rencor incandescente y deseo puro de lastimar la cara de alguien. Un odio medio generalizado, abstracto, inclinado al mundo femenino. Sin saña no podrían haber sucedido.”
¿A cuál de los mundos femeninos está dirigida esa saña? ¿El de las revistas, el consumo “de belleza”, esa construcción dirigida de lo que es ser una mujer?
–La calle está llena de mujeres realmente enfermas en su búsqueda de conseguir ser replicantes. Algunas viven la estética desde un lugar directamente monstruoso sin darse cuenta. Tonos de maquillaje incorrectos y peinados que parecen problemas craneales. Expresiones tan rígidas como la foto de la que fueron tomadas. Lo que yo hago con la estética de la moda femenina es ponerle lo que me parece que le falta, modificarlo. Mi odio va dirigido al mal entendimiento de lo que es la belleza y a la poquísima aceptación de variedad que hay en el mundo. La fotografía de moda es aburridísimamente reiterativa. Están de moda los gestos de vacuidad y aburrimiento. La monstruosidad existe y como artista yo estoy de ese lado. Y de esto se tratan mis portadas de Seventeen. (Mariana Enríquez)
Atmósfera Abrupta (España 2011)
Salvaje pareja con un directo oscuro, misterioso y demoledor, que gracias a los iluminados humanoides de Montaña Sagrada hemos podido disfrutar por aquí hace bien poco. Sonidos tensos y vibrantes de una belleza subyugante, enamorado me tienen los tenebrosos teclados creepy de Carmen, que junto con el potente bajo de Tomás crean canciones que te van atrapando en sus atmósferas de sedosas cadencias, opresivas y peligrosas a la vez, para implotar en crescendos hipnóticos y sexuales. Unas letras cautivadoras e inquietantes con armonías vocales que presagian el eléctrico comienzo de la tormenta. Mueran Humanos!
LEM Festival Internacional de Música experimental BCN (España 2007)
Mueran Humanos es el proyecto conjunto de Tomás Nochteff y Carmen Burguess, dos músicos argentinos con la malsana intención de esparcir melodías psicofónicas y poesía negrísima, como indica el nombre de su formación (“lo único imperativo de obligado cumplimiento para todo el mundo”). El suyo es un espectáculo gótico y oscuro, pero también lírico y pop; una propuesta musical alucinada construida a base de pesadillas eléctricas y paisajes de surrealista crueldad en la que se nos habla de palomas caníbales o de sensuales temporadas en el infierno. Un apocalipsis de pequeño formato para mentes sensibles y enfermizas.
La paz de un campo sembrado de cadáveres (2011)
Mueran Humanos habita en un rincón de mi habitación hace años, pero no me había decidido a escribir sobre ellos por el respeto que me inspiran. Primero, porque hubiera querido construir un texto repleto de detalles técnicos sobre su capacidad para hacer algo hermoso con el sonido y transmitir su éxodo experimental; pero no tengo los conocimientos para hacerlo. Segundo, porque en una actualidad que comparte frenéticamente sus gustos e intereses, como una suerte de ortopedia de la identidad, algunos secretos deben guardarse hasta el momento oportuno. No es que esté en contra de la libre circulación de la información, al contrario, pero antes de compartir es justo detenerse un momento a contemplar. Darle tiempo a los misterios… (Nicolás Isla)
Mueran Humanos o el amor a la humanidad (España 2011)
Revista Plástica
[Video] Mueran Humanos: “Altar Hogar” (2011)
Old School
Mueran Humanos Nuevo Disco (Argentina 2011)
Radio Label
Mueran Humanos acaban de lanzar una gran obra de surrealismo dark, su primer álbum “Mueran Humanos” de tanta oscuridad, es brillante. Ocho escalofriantes canciones en 59 minutos grabadas con maestría por expertos, repleto de climas sombríos, un fascinante y seductor viaje por las tinieblas, letras opresivas y mucha reverberación para hacernos sentir que la habitación es muy grande, es de noche y estamos solos. El disco abre con “Horas Tristes”, en donde la protagonista asegura: “Los pasos en la casa no me dejan tranquila”, pero en la casa no hay nadie, sólo esta ella hundida en su sillón, alumbrada por la tenue luz de una vela. Luego llega “Festival de Luces”, apoyado sobre una linea de bajo industrial y machacante, coros fantasmales y un sintetizador que sólo se fabrica en Berlín, es un relato pesadillesco contado con total naturalidad que termina con una lluvia de sangre. El tercer track se llama “Corazón Doble”, un temazo de dientes apretados dominado por una guitarra bien distorsionada y un theremín maldito; en la canción la única amenaza visible es la llegada de la mañana que indefectiblemente estallará en las ventanas, indicando que llegó el momento de la separación, con la esperanza de volver a encontrarse del otro lado de la tormenta. Luego llega “Leones en China”, la descripción de un lugar claustrofóbico que tiene jardines donde florecen balas, el mar tiene huesos y la luna es un cuadro. El tratamiento y la ingeniería en la voz de Carmen es para destacar. Para cuando llega la quinta canción ya estamos instalados en una fria y oscura habitación en la mansión gótica de los Mueran Humanos, pero no queremos ni asomar la cabeza, estan bajando línea “nunca te callas la boca, porque ser estúpido es gratis”.La canción que sigue es una gema, “Monstruo”, repleta de sintetizadores y voces superpuestas, donde el protagonista no reza por las noches porque desea que un monstruo horrible entre por la ventana y lo lleve entre las flores, de un jardín negro. El tema siete es “Altar Hogar”, el más denso del disco y ominoso para la humanidad, un descenso a la ultratumba para pasar la noche en una fría bóveda rodeado de calaveras. Y justo cuando necesitabamos un pequeño respiro, llega “La Langosta”, un final a lo grande, un trip de 20 minutos repleto de paisajes en los que por momentos entra un poco de luz y también un poco de oxígeno. Con un trabajo de guitarras sutil y excepcional, cargado de armónicos y notas que se suspenden hasta parecer cuencos tibetanos que envuelven todo para fundirse con un órgano de iglesia, Tomás y Carmen se mueven con elegancia por ese teritorio espectral, donde cada capa de sonido y efecto esta colocado con la única intención de abandonarnos a su oscuro encanto y levitar. (Eduardo Quintana)
Mueran Humanos y su gira por US (Argentina 2011)
Radio Label
Noche Pasta ( México 2009)
Noche Pasta
La banda de nombre misántropo edita estos sencillos digitalmente a través del sello Holyrook. En el sencillo Exito de una Santa tenemos dos rolas. La primera, homónima, remite a un synth pop oscuro, como algo salido de alguna compilación de cold wave europea de los años ochenta. Agujeros Blancos, en cambio, es un track más atmosférico, dibuja un ambiente desolado, como los alemanes Cluster pero en plan poeta maldito. El otro sencillo, La Langosta, es un viaje de 20 minutos que comienza con un beat pequeño y un teclado que recuerda a unos Suicide pero en valium y que se va tranformando épicamente en un compendio de lo mejor del krautrock más abstracto, todo a través de la famoso regla instaurada por el buen Mark. E. Smith, las tres r’s: repetición, repetición, repetición y al final, no puedo dejar de notar, los teclados recuerdan gratamente a lo que hacía John Cale en la Velvet.
Revista Cáñamo (España 2007)
Durante una hora desplegaron un set musical donde el gusto por el tenebrismo y la crueldad surrealista se aliaron con un muy calculado concepto de terrorismo sonoro. Un espectáculo que encabalgó, sin descanso alguno, atmósferas de pesadilla tecnológica, chirridos de bajo desbocado, psicofonías y textos donde se describían infiernos cotidianos en los que las palomas devoran a los hombres y las azoteas de los edificios sufren overbooking de enfermos terminales.
Éxito de una ex santa (Argentina 2008)
Global Art
Deutsch
Album Review (2011)
Black Magazin
Es ist schon beeindruckend, wie erfolgreich sich das Phänomen “Eighties” in der aktuellen Musikwelt behauptet. Der Bereich angeschwärzter Subkulturen bildet da keine Ausnahme: Schon vor einigen Jahren machte sich eine handfeste Rückbesinnung bemerkbar, Szeneclubs veranstalten Batcave- oder Deathrock-Partys, hybride Retrostile wie Horrorpunk entstanden. Man muss leider hinzufügen, dass solche Strömungen im engeren Szenerahmen eher randständig sind, und nicht alle Ausnahmen sind dann auch wirklich überzeugend. Die Fixiertheit auf immergleiche Interpreten und die beinahe religiös zelebrierte Vorstellung, dass ohnehin früher die bessere Musik gespielt worden sei, steht einer wirklichen Wiederbelebung im Wege. Interessanter dagegen ist die Beobachtung, dass solche Musiktraditionen heute vor allem von jungen Quereinsteigern am Leben gehalten werden, die kaum Szenesozialisation vorweisen können und sich die entsprechenden Stilkompetenzen wohl eher beiläufig angeeignet haben. Vom derzeit virulenten Genrekonstrukt “Witch House” bis zu den (für mich eher langweiligen) HURTS-Bubis, von Siouxsie-Lookalikes bis zu basslastiger JOY DIVISION-Huldigung – sucht man die Orte auf, an denen solche Dinge heute vonstatten gehen, so sieht man dort recht wenig Schwarz und kaum SM-Sekretärinnen mit verklemmter Coolness im Gesicht. Stattdessen junge Leute, die aus einem verengten Szeneblickwinkel betrachtet vermutlich „so aus der Kunstecke“ kommen, und denen man ebenso bei MOGWAI oder ARIEL PINK begegnen könnte. Der frische Wind also, den jeder erhofft hat, von dem aber doch keiner so richtig wusste, von woher er denn nun eigentlich wehen sollte – und von dem die selbsternannten Gralshüter dieses Stils vermutlich nur mitbekommen, wenn sie denn extra jemand darauf hinweist. Wie sehr das ganze nun ein vorübergehender Hype ist, sei bislang einmal dahin gestellt, aber schlimm ist das angesichts der oben beschriebenen Stagnation ganz und gar nicht, und warum sollte es das auch sein. Im Gegenteil, als sich zuletzt auf einem Postpunk-Konzert altgediente Szeneprominenz schon während der Vorgruppe an die Bar verdrückte, kam mir vielmehr der Gedanke, dass diese Bands dann wohl alles richtig gemacht haben. Die Bands waren in dem Fall die irischen VIDEO RIDEO gewesen, deren von Peter Hook-Bässen und Radiosamples durchzogene Postpunk-Extravaganzen schon mal die Zehnminutengrenze überschreiten. Und: die aus Argentinien stammenden Wahlberliner MUERAN HUMANOS, die, was das Chaos perfekt macht, mit ihrem Debüt nun auch noch bei Old Europa Café gelandet sind. Mueran Humanos sind das Paar Carmen Burguess und Tomás Nochteff, und ihr Bandname bedeutet „Stirbt, Menschen!“. Das wirkt dem jungen Alter der beiden entsprechend trotzig und lässt an radikale Antihumanisten denken, wie jenen deutsche Anglisten, der am Höhepunkt des kalten Krieges mit (ironischen?) Sophistereien die erlösende Auslöschung des Untiers Mensch forderte. Oder an jenen verrückten Finnen, der aus Besorgnis über den Zustand unseres Planeten die Dezimierung des homo sapiens fordert und für seine Restbestände einen ökofaschistischen Morgenthauplan vorschlägt. Der Band zufolge verweist der Name aber vor allem auf das Sterben als einzig wirklichen Imperativ und auf die morbide Kehrseite alles Lebendigen. Entsprechend wird das Menschliche auch auf allerlei Spuren des Verfalls hin abgeklopft, was sich für Leute, die des Spanischen unkundig sind, zunächst in Carmens visuellen Motiven zeigt, die gerne als Videoprojektionen während der Auftritte verwendet werden. Da bekommen vordergründig hübsche Gesichter kurzerhand das Antlitz verbrühter Puppen, oder sie bekommen recht derb eine klaffende Vagina verpasst, wo eigentlich ein lasziver Mund und eine klassische Nase hingehören – das Hässliche und Brutale bricht sich in aller Plötzlichkeit Bahn, vor allem in die heile Welt klassischer Modemagazine. Ein Lucio Fulci könnte hier ebenso Pate stehen wie Baudelaire, dessen „Stück Aas“ nach dem Geschmack der Band sein müsste. Wie um ein unterschlagenes Korrektiv zu allzu idealistischen Menschvorstellungen zu liefern, sehen die beiden allerorts den Verfall, den Wahnsinn, die verdrehten, zombifizierten Augen. Idealisiert und ästhetisiert wird das allerdings schon – schon durch den Vorzeigelook des Pärchens, aber vor allem durch den überaus energiegeladenen Postpunk der beiden, der vom Label nicht ganz zu unrecht mit frühen SUICIDE verglichen wird. Schon bei „Horas Tristes“ ziehen die beiden sämtliche Register, um einen intensiven Postpunksong zu kreiren. Mit monoton hämmernden Midtemporhythmen und zweistimmigem Sprechgesang fangen sie die Desolatheit einer verlassenen Industrieruine ein und vollziehen im Groove schon hier eine augenzwinkernde Show des Dekadenten. Unaufhörlich entwickelt sich der Song seinem Höhepunkt entgegen, flankiert vom Tomás’ Gitarreneinsatz und Carmens coolem Gesang, der sich am Ende in ekstatische Schreie auflöst. An X-MAL DEUTSCHLAND mag man da denken, auch an eine etwas weniger poppige Danielle Dax. Ähnlich gestrickt ist das (der Videoprojektion zufolge) politisch inspirierte “Leones en China” und das vokallastige “Monstruo”, doch Mueran Humanos können auch mal etwas netter, wenn sie wollen. “Festival de las Luces” besticht mit spacigen Synthies wie aus alten SciFi-Schinken und überrascht mit einem Gesang, der von mediterraner Leichtigkeit getragen ist. Dass es sich bei dem Licht um alles verschlingende Flammen handeln muss, kann man nur erahnen. Anspieltipp Nummer eins ist allerdings der satte Rocksong “Corazon Doble”, der an der Grenze zwischen Noise und Rocknroll mit punkigen Gitarren und coolem Gesang aufwartet. Was immer auch im Text vor sich geht, es ist das pralle Leben, das ein solcher Song feiert. Sowohl die Musik als auch die Liveperformance von Mueran Humanos leben vom seltsamen Mischverhältnis aus kraftvoller Dynamik und morbider Coolness. Was den Antihumanismus der Band angeht – Masche, fixe Idee, oder doch die künstlerische Verarbeitung persönlicher Zweifel? Das muss den Hörer im Grunde gar nicht so sehr interessieren, denn er fügt der Musik eine Konsequenz und Abgeklärtheit hinzu, die ihrem trotzigen Vitalismus nur zuträglich ist. (U.S.)
Interview (2011)
Black Magazin
Die beiden in Berlin ansässigen Argentinier wissen um die Kraft des Minimalismus un können gerade hier ihr psychotisches Potential ausspielen. Musik die fesselt und lange nachwirkt.
Latvija
Vacija ir pazistama ka krautroka dzimtene. Tapec butu visai savadi, ja Argentinas duets Mueran Humanos par savu darba placdarmu butu izvelejušies kadu citu pilsetu, nevis Berlini. Škiet, tik psihodelisku, narkotisku un pat halucinogenu krautroka maisijumu ar industrialo roku nevaretu izveidot nekur citur uz šis plašas planetas, ka vien Vacijas galvaspilseta, kas vel pirms dažam desmitgadem bija pazistama ka muziku bohemas un nepartrauktas narkotiku lietošanas citadele. Albums “Mueran Humanos”, kura atrodams šis skandarbs „Horas Tristes”, izdots jau perna gada oktobri, bet bija pamanijies paslidet garam lielakajiem muzikas medijiem (tai skaita AMGmusic). Ari šonedel vel apsveru, vai piedavat dziesmu AMGmusic lasitajiem (it ka jau pavecs gabals…), lidz pec trešas noklausišanas reizes nonacu pie secinajuma, ka narkotisks krautroks spanu valoda(!) ir kaut kas tads, ar ko man obligati japadalas. Viens no pedejo menešu interesantakajiem un svaigakajiem trekiem!
Porą menesiu vis sukamas albumas atklydo dar iš praejusiu metu, bet, matyt, liks vienu geriausiu iš šiu. Duetas iš Argentinos “Mueran Humanos”, šiuo metu apsistojęs Vokietijoje, visiškai nesuprantama kalba kuria tobulai mistišką nuotaiką. Industrinis minimalus krautrokas su užatlantiniais bruožais kerta i pačią gelmę — pagauna ir valdo. Tobulas pavyzdys muzikos, kurios žodžiu prasme neturi reikšmes, bet dainavimas vaidina ne paskutinę rolę. Nors klausant “Monstruo” norisi tiketi, kad supranti apie ką čia: monstruo monstruo.
Italiano
Risiedono in Germania, ma sono originari dell’Argentina Carmen e Tomas, i due componenti di Mueran Humanos, progetto che al debutto assoluto viene subito sostenuto da una label di primo livello come la Old Europa Cafe, e che ha già riscosso più volte il plauso in sede live. I nostri fanno leva su architetture semplici e immediatamente riconoscibili, legate sia alla vecchia scuola minimal-synth che ad una new wave con venature pop: in pratica una formula nota a tutti, basata su ritmiche secche ed elettroniche, tappeti di tastiera dal sapore retrò, riff di chitarra elettrica dai toni goth e le due voci a completare lo schema, utilizzando la lingua spagnola. Sebbene ci troviamo al cospetto di un sound tutt’altro che nuovo, alcuni brani hanno una riuscita buona se non eccellente, segno che i Mueran Humanos sanno elaborare una musica efficace ‘citando’ a iosa una scena vecchia di diversi anni. In questo senso funziona alla grande “Cosmeticos Para Cristo”, sorta di hit-single mancato, forte di un’insistente cassa dritta e di una melodia di ferro: avrebbe fatto faville negli anni ’80 e potrebbe farne anche nel nuovo millennio. Non sono da trascurare altri momenti come “Horas Tristes”, lugubre e moderna dark-synth che ricorda i migliori nomi della Nightbreed, o il goth andante di “Festival De Las Luces”, gli scenari pop-rock di “Corazon Doble” e la lunga ed ipnotica “La Langosta”, che chiude il CD. In generale ogni pezzo è sorretto da buone melodie, fatto che rende l’intero disco immediatamente fruibile e piacevole. Oltre all’edizione standard in CD, la Old Europa licenzia questo debut-album in un’edizione limitata a 40 esemplari in box con T-shirt, vari gadget e miniCDr aggiuntivi. Per gli amanti del vinile è invece disponibile una versione in LP messa in commercio dall’americana Blind Prophet Records, con una traccia esclusiva a sostituire il brano “La Langosta”, disponibile solo per il supporto digitale. Copertina che non lascia indifferenti, a metà strada tra l’inquietante e l’orrido. Per gli interessati va segnalata l’esibizione dal vivo in programma al prossimo Congresso Post-Industriale del 30 aprile.
Intervista (2011)
Ritual
Nederlands
De meest productieve bands vind je tegenwoordig allicht in Zuid-Amerika maar tegelijkertijd hebben ze ook een patent op afgrijselijke hoezen. Ook dit debuut kaapt zonder twijfel de hoofdprijs weg van de grote wansmaak, tenzij je het soort persoon bent dat kickt op een met bloed besmeurd gezichtsloos poppenhoofd. Ieder zijn afwijkingen natuurlijk, maar toch mag het geen reden zijn om deze cd geen luisterbeurt te gunnen ook al zou je dergelijke prentjes eerder onder brengen bij releases van Buthole Surfers of Melvins (om van de grindcorescene maar niet te spreken). De muziek van deze Argentijnen die tegenwoordig in Berlijn wonen, valt misschien best te omschrijven als…minimal wave.
We mogen dan wel geen snars van de Spaanse teksten begrijpen, toch krijgen de minimale synthklanken hierdoor een exotisch sfeertje dat je ook eerder kon horen bij Sixth June of Ladytron. Toch dien je wel te weten dat deze plaat ook een andere zijde vertoont vooraleer je de muziek van Carmen en Tomas gaat uitroepen tot het nieuw minimaal synthwonder want deze cd kent eveneens een psychedelische zijde, een trekje dat het meest tot uiting komt op de laatste track “La Langosta” die zo’n dikke twintig minuten duurt en enkel op de cdversie terug te vinden is. Op zich is dit verre van slecht maar op een plaat die puurt uit de minimal synth werkt zoiets enkel als een storende stijlbreuk. Een debuut met verdiensten en zeker de moeite, maar baseer je wel op meer dan één track vooraleer je victorie staat te kraaien want deze Mueran Humanos tapt uit meerdere vaatjes en is op zijn zachtst gezegd een zeer raar beestje!. (Didier Becu)
Neokrautrock!!! (2011)
Nooit Berlijn
Svenska
Portugues
РОССИЯ
Первая пластинка дуэта из Аргентины, теперь переехавшего в Берлин; в составе, как положено, мальчик и девочка; альбом издал человек из группы Cult of Youth, о которой мы недавно писали. Делают простой, как палка (железная), минимал-вейв: синтезатор, ровная драм-машина, бас, голос, все. Получается при этом здорово — я лично вообще приветствую возрождение минимал-вейва (хотя, справедливости ради, и исконного столько, что копать не перекопать), а у Mueran Humanos все хорошо не только с чувством стиля и монохромной палитрой, но и с мелодиями; все вроде бы очень монотонно — но при этом тот самый механический грув присутствует, и драматургически треки устроены так, что за 8 минут целую пьесу на одном квадратном метре успевают разыграть. Плюс, как водится, химия разнополого дуэта; плюс незнакомый язык, который добавляет музыке какого-то странного шарма; в общем, все одно к одному.