Far From Alaska

"With a sound difficult to define, Far From Alaska has influences as diverse as they are controversial, resulting in a proposal that is at least interesting. What I can guarantee is that it's rock." (band release)

On a cold Valentine's Day in the capital of Santa Catarina, where many couples preferred to enjoy the night under the covers or doing so many other passionate programs, I went to check out one of the current revelations of Brazilian music, the band Far From Alaska.

The "romantic" night was opened by Santa Catarina Blame, with its strong grunge and hard rock approach. Unfortunately, I couldn't follow the entire show of the people from Santo Amaro da Imperatriz, watching only the cover of Rage Against The Machine.

A few beers and other conversations when, around one in the morning, the FFA took the stage of Showcase cell, opening the show with the flagship of their latest album, modeHuman (the band has an EP, Stereochrome, from 2012), and from there I could feel what would hit me: a big blow rock'n roll-electronics-experimental-visual.

Thievery right away showed the powerful vocal that emmily barreto displays. The girl shows personality before the microphones and has a voice that, I dare say, sometimes reminded me of a female version of Chris Cornell, lead singer of bands like Soundgarden and Audioslave; a torn and high-pitched vocal, but with its own identity.


Together with her, they form the team that comes from "far from alaska" (Rio Grande do Norte, to be specific) Chris Botarelli, on the synthesizer and other equipment/little noises (and that also helps a lot with a very present second voice); Laura Kirsh, in the battery; Rafael Brazil, on guitar; and Eduardo Filgueira, at the bottom.

Then another round of weight, with another round. The music enters charged and calms down, coming with Emmily's vocals like a floating raft, flowing on the high seas and that, when least expected, is hit by a sequence of waves, giving the music a rhythmic direction, groove, which sticks and leaves you drumming the cadence of the drums. And, speaking of drums, this one has a weight that few bands on the current national scene, which follow a path similar to that of Far From Alaska, presents. Lauro Kirsch lets go of his arm without fear of being happy and hits - just like everyone else - right on target.

Em Deadman, the band follows the loaded pattern, making the audience jump a lot. The song has several layers, with the drums and bass marking the song, as well as the sound effects (a keyboard that looks like a harpsichord), giving the song its own conception.

And when you see it, out of nowhere, the song ends, making room for Politicks, with a strident guitar in the best bluez spirit. The music has a very striking, very cool take. In addition to the name, the lyrics seem to me to bring a feeling that fits with the current political scenario: We don't need your protection/We can fight for who we are/Yes, you have a lot of power/But we don't mean to be stars/Just forget about the time/When you ruled all of our lives/We 'll stand to our position/You won't get away with lies (We don't need your protection/We can fight for what we are/Yes, you've got a lot of power/But we don't wanna be stars/Just forget about the time/When it ruled all our lives/We'll stand our ground/You won't run away with lies, literally translating).

The show kept the mood lively with Mama, Communication (this is perhaps the most "cute" of the songs presented, in a slightly fast mood, with a little show keyboard), rolling dice (which starts remembering Money, by Pink Floyd) and About Knives.

Things got energetic again. Dino vs. dino, perhaps the best known of the quartet's songs. Dino vs. dino it looks like the revolt of the dinosaurs; walking, sometimes lightly, stalking in search of its prey, sometimes running furiously in every corner, knocking down and devastating the prey. To end the night, the song that closes the record, Monochrome.


What I can say - and I've already highlighted a lot during the text - is that Far From Alaska is a pleasant surprise in the Brazilian music scene. I hope the band continues very well (as it already is), keeping its roots, but without ceasing to experiment, since it seems that experimentalism is also one of its outstanding characteristics. And I could not fail to thank the indie box, in particular Alexandre Salles, for the credential to accompany the show and for all the excellent structure they set up and organized. Congratulations on the show and thanks for everything.

Gabriel Faraco

Photos: Public Relations/Facebook


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