It is strange to think that the Boogarins are not on the road. With a solid career in Brazil and abroad, the band from Goiás has always had a full schedule, with crowded shows in Brazil, the United States and Europe. With the restrictions imposed by the pandemic and the stoppage of shows worldwide, the band had to rethink their plans and just released “ Manchaca Vol. 1 - A Compilation of Boogarins Memories, Dreams, Demos and Outtakes from Austin, Tx ”, a record of rarities and studio leftovers that originally would be released in a more discreet way, only for fans, but which now serves as an instrument of connection with its audience . Another good surprise for fans is the mini documentary Manchaca , recorded in Austin during the South by Southwest 2019 festival, which talks a little about this important period in the band's history. It brings testimonials and excerpts from concerts and was made available on Youtube.

 SIM São Paulo talked to guitarist Benke Ferraz about the album and the new moment

How was the process of choosing the songs for the album Manchaca?

BENKE: The process of choosing tracks from Manchaca was a little reverse. All songs are leftovers from the last two albums: do Lá Vem a Morte , which appeared as an EP, and Sombrou Doubt . It was a material that we were fond of, but as things took their course, some songs didn't fit. That sound , which opens the disc, for example is a song that was the same Sombrou Doubt , but at the time of choosing the tracks she sounded too innocent and ended up being left out, just like Wait Speech Again , that Raphael sings.

Does the album have to do with the experience of living abroad? Do you think this disk is the closing of a cycle?

BENKE: Manchaca was the name of the street where we live in Austin. Then, in the following years when we went there to record, the studio was also on that same street. It has a lot to do with this experience of living abroad, but not as an inhabitant, but as being an outsider who comes to visit, settles in and begins to create ties with the space knowing that one day he will leave. I think that more than an experience of living abroad, it has to do with this immersion that we end up submitting to in this road flow, of being there with four friends making sound without stopping, doing shows and recording. Everyone around you doesn't speak your native language, but you have to create some relationship, whether in the studio or outside. I think it has more to do with the experience of being a foreigner than being on the spot.

In the last few years you have spent a lot of time on the road. How are you facing this isolation and what are the impacts on the band's plans?

BENKE: This forced pause made us think a lot about all things, the Manchaca took another form after the pandemic, it would just be an extra record with ten or eleven tracks on Bandcamp, just for download, for fans. But as our plans were interrupted by the pandemic, we understood that it was necessary, as you said, to end a cycle, since we would not start another one anytime soon. We understood that we shouldn't get attached to those songs that were stored, that Austin material. And we would not need to rush to say what Boogarins' new step would be, since it is also the artist's role, to remain healthy, to be able to take some time to adapt, to understand his role in the world as he changes , something that at that moment nobody knows exactly what it is. It is difficult for you to know what to do when all your interaction goes through social networks, tools that are not our own. So I think we took advantage of this time so much to create a routine at home, that seven years ago we couldn’t have it, give value to the people who are at home and expect us on these endless trips and also reframe this whole process. And then we are certainly giving a sense of closing the cycle to open the door to what is new.

You have always been an extremely creative band and have never stopped producing. How are you dealing with this in this time of distance?

BENKE: In this sense, the isolation, the distance and the impossibility of meeting are of little importance in terms of creativity and production. At the same time that we are a band that has always played a lot live, that improvises, that creates new things all the time, we are also that lo-fi band that records with a cell phone, with the minimum of equipment. There are several exchanges of demos, processes and even partnerships with friendly artists so that we can start pre-producing an entirely new album. It also turns out that with this road belt we were unable to stop to execute the real plans, the things that sometimes stay in the air, so we are dealing with this in the best possible way, giving time to time and not wanting to invent fashion in this very complicated period .

Do you live in different cities? How does it feel to be away from the other members?

BENKE: We currently live in three different cities: Dinho and Raphael are in São Paulo, Ynaiã in Rio and me in Recife. It was already like that, but the point is that, in fact, since 2014, we haven't spent more than a month without playing, without doing a show. There was a vacation, but always in the first or second week of January, there was already a concert scheduled, so we could also keep the cash and survive. So there is certainly a strangeness for being away, there is a burden, but as we get older, the longer tours, the rounds to the house get more and more pleasurable.

When is the second volume of Manchaca coming out? Do you already have plans for the future?

BENKE: The second volume of Manchaca should arrive between November and December. We want to take advantage of all the noise that volume 1 is causing, keep the timing and continue providing some new things for our audience.

Volume 2 will bring more songs that were made in the studio, things from the last session where we took little advantage of Shaded Doubt . We recorded in a house in 2016, we went to the studio in 2017 from where practically the entire album came out, and in 2018 we kind of went to make a composition laboratory, we made songs in English, in Portuguese and we tried to recreate some improvisation sessions and turn into songs. I think that this second session only has Hate Dogs e Bright Night no Manchaca vol.1 . There are many songs that people listened to in improv sessions and asked for streaming.

And this stop came at an opportune moment, both in the creative sense, and so that we can look back, see all this work that we are building non-stop, give a new meaning in this narrative of what those years were like in Austin and try to tell a little bit better this story for our audience in Brazil. Whether because we didn't have an advisory in those years that we were recording in the United States, or because we were focused on producing. We recorded almost nothing, we have few videos from those years. So, I think it is cool for us to create this context, this imagery verbatim and with the songs and to present this to our audience and a new audience that may arrive.

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