There was a thread in American music in the late 1960s that someone untangled across the U.S., then stretched over to Europe, where it took root in 80s shoegaze. It ties together bands as disparate as the 13th Floor Elevators, the Velvet Underground, Sonic Youth, Mazzy Star, Blonde Redhead, and the Jesus & Mary Chain. It’s noise rock or math punk or psychedelic or shoegaze or doom: It’s the down-tuned sound of chaos and beauty, and while no one was looking, it also worked its way through the Americas and took root in Brazil under the name Firefriend.

The Black Hole (Little Cloud Records, 2017) - a tight three-song EP that clocks in at 21 minutes - is the eighth release from the Sao Paulo trio. This is music to play in the dark, a sonic soundscape made for dreaming beside the campfire or - as the title track demands - it’s music for turning up and driving through the desert night with, full-tilt and fully immersed. The bass grooves move you along; the drums tell your heart to beat; the guitar-work needles its way into your subconscious and pulls forth demons; and the vocals ease you back to sleep.

Firefriend pulled that thread from the 60s and created something that feels like a bit of everything that thread ever touched. Their sound doesn’t rush to the pop hook or stall itself in the crunchy riffs, it glides above everything else in its own orbit, echoing the best parts of psychedelic, shoegaze, and noise by taking it all into strange new fields of bliss. And with a vinyl release from Portland’s Little Cloud Records, it can be heard as God intended at epic 45 rpm. Do yourself a favor: Turn the music on, the lights off, and let yourself go.
Jack Beltane, United States
MAY 2017

Hailing from Sao Paulo, Brazil, Firefriend are Julia Grassetti (bass and vocals), Caca Amaral (drums) and Yury Hermuche (guitar and vocals). They are part of the underground resistance and in their latest LP Avalanche, have created their magnum opus.; an aural documentation of the nihilistic storm that is part of living in the 21st Century.

They pull at the threads that link the great subversive bands of the 60s through into the 80s and beyond to create something that feels like a bit of everything that’s been touched en route – from The Velvet Underground to Spaceman 3, via John Coltrane, William Burroughs, Louis Ferdinand Céline and Jean-Luc Godard. Their sound doesn’t rush to the pop hook or stall itself in the crunchy riffs, it glides above everything else to its own orbit creating echoes of the best parts of psychedelia, shoegaze and noise by taking it all into strange new fields of bliss.

Opening with ‘Zoey Speaks’ a hazy number which invokes all of the aforementioned, especially in its opening which could have been recorded in a New York basement with Warhol watching poignantly on. ‘Alone in the Dark’ is a different entity, with soothing vocals and rolling guitar riffs that drive the track. Its melodic elements create a dreamy atmosphere that allows the listener to float into oblivion. ‘Love Seems Distorted’ is a great name for a track whose guitars are distorted, the lyrics evocative and layers of twinkle wash gentle over everything. ‘Raw Violence’ changes tact and acts as a bridge between the two songs. Which is helpful as the next track entitled ‘Transients Welcome’ reaffirms this with its lazy, heavily shoegaze inspired countenance. ‘Death Star, inc’ continues this theme but with added emphasis to atonal guitar riffs that the mix has picked out to rise above the other elements.

‘Who’s Gone What’s Missing’ is probably the standout track of the album, partly because it has a noticeably different sound to the others, but also because its hypnotic riffs get wedged in the brain and have you humming them for days after. There are so many musical inspirations shining through that they follow thick and fast, yet somehow this is something all their own. ‘Electric Moon Revisited’ returns to the more fuzz laden sound, with layers of sound repeating underneath Julia’s distinct vocal sound. ‘Maxwell’s Demons’ is a real homage to the shoegaze gods of old, with indistinct vocals pushed to the rear, reverberating guitar layers laden with fuzz to the front and a slow methodical drumbeat tying it all together. Title track ‘Avalanche’ takes elements of all the preceding numbers, changes things up a a bit and presents them. It’s probably the most Firefriend track you’ll ever hear. ‘Dissatisfaction’ has added piano accompaniment to add an eerie edge to a dark track and concluding ‘Godless Clouds’, another track with a strong hook that is certain to appeal to the masses.

Firefriend aren’t for everyone; their tracks are long and involved and aren’t intended for the novice who wants an introduction to the genre. That said, they are masters of their craft and channel the ghosts of past, present and future in one dose.
Le Crowley
Backseat mafia, Dec 2019

More than deserving of its place deep in rock ‘n’ roll’s hall of fame is the mid-distant, part-spoken vocal that comes reverbed out to the point of disinterest. It’s just effortlessly cool and it’s not the only trick São Paulo band Firefriend lift from the iconic handbook as the trio continue their prolific career with new LP Avalanche. Cherry-picking the best motifs from both modern and 60s experimental psych, so too from the fertile hunting grounds of arty noise-rock and spacey shoegaze, their sound takes in both the likes of The Velvet Underground and Sonic Youth amongst others as it goes, Avalanche an album however not quite as quick to reach for the heavy riff as some of its predecessors, relying instead more often on nagging minimalism to turn the band’s trademark slow-burn into something rather more impressive.

Avalanche nevertheless rumbles elementally when needed, massive guitar distortion crunching in over certain outros, noisy middles peppering the mix sparingly, the title-track, for example, throwing up expressive wails of noise blurred by Yury Hermuche’s pealing guitar and impassioned snarl. Ever Hermuche’s soothing counterfoil, bassist Julia Grassetti’s uneasy coo leads more restrained material, woozy guitars, gently trippy drones and Caca Amaral’s percussive shuffles simmering alongside stoned strumming and out-there backmasking. Avalanche consequently lacks some of the standout tunes of an album like Yellow Spider, but it’s a more consistent listen.

Compensating for this homogenising predictability come strangled psych-blues slides and oddities that scribble all over the album’s laid-back wah, melancholy ambience too eventually lost to crackling, top-end static. These strains of outsider discordance peak during the Nico-inspired “Transients Welcome”, a track otherwise bolstered by contemporary psych-rock muscle while the fuzz rolls in for 11-minute album centrepiece “Who’s Gone? What’s Missing?”, a rolling jam with tremolo-fired disorientation dropping it was off the beaten path during its finale. Firefriend may not yet be quite ready to join their influences in rock ‘n roll’s hall of fame, but album on album they’re staking a very ear-catching claim.

Best track: “Avalanche”

SIC magazine
AUG 2019

Il miglior gruppo rock psichedelico in circolazione? Non lo so. Voglio dire, sono sicuro che ciascuno potrebbe nominare un gruppo diverso e qualcuno potrebbe anche fare degli elenchi. In ogni caso si potrebbero nominare roba tipo “mastodontica” tipo King Gizzard & The Lizard Wizard, che sono roba forte, per carità, oppure gente come Ty Segall, Oh Sees, che pure mi piacciono molto, ma voglio dire, e se vi chiedessi qualche cosa di veramente forte e qualche cosa di veramente diverso. In questo caso allora fidatevi se vi dico che questo gruppo proveniente da San Paolo, Brasile, è la cosa migliore che potreste ascoltare e la cosa bella, stavolta sì, è che ce ne siamo accorti – pare – finalmente anche in Europa, se è vero che il gruppo suonerā due date qui ad agosto, prima a Berlino e poi alla grande festa che si terrā ad Eindhoven con un sacco di bella gente del giro della Fuzz Club Records.

Per la veritā la storia dei Firefriend, trio composto da Julia Grassetti, C. Amaral e Yury Hermuche, è già fatta di pubblicazioni discografiche gloriose. Il gruppo è in giro da pių di un decennio e la accoppiata “Yellow Spider”-“Sulfur” (il secondo LP ha una copertina semplicemente spettacolare e che ci invita letteralmente a entrare dentro questa feconda fornace cosmica che è il sound di questo gruppo e che poi forse è veramente il sound del futuro del rock psichedelico) nel 2018 è stata semplicemente strepitosa. Superarsi era difficile, quasi impossibile, eppure i Firefriend ci sono riusciti.

Si superano con un doppio LP contenente dodici canzoni e che non accetta compromessi, nel senso che o ti piace, oppure ti piace moltissimo e nel nostro caso vale sicuramente la seconda ipotesi. Si comincia sin da subito a galleggiare in dimensioni lisergiche fatte di chitarre riverberate, atmosfere soffuse, ampio uso di eco e sterzate improvvise che non hanno paura di andare oltre barriere sonore e linee predefinite di accordature e tonalitā giā scritte. “Zoey Speaks” come la title-track “Avalanche”, nel segno della grande lezione e ispirazione più noise e caratteristicamente astratta e priva di forma di Jad Fair, poi “Alone In The Dark”, cantata da Julia, grezza come potrebbero suonare le prime gemme dei Brian Jonestown Massacre alla corte di Pol Pot, e che poi diviene esplosiva con la sublimazione in uno stato di trance cosmico che non è mai pomposo, ma mantiene quel carattere suburbano, post-punk, che richiede tutta la nostra devozione.

Seguono ballads lisergiche come “Love Seems Distorced”, la vintage e visionaria “Electric Moon Revisited”, “Maxwell’s Demons”, blues e recital elettrici allucinati (“Raw Violence”, la glamour “Dissatisfaction”), sessioni prolungate di psichedelia cosmica sperimentale (“Transient Welcomes”) come si sentono osare veramente pochi gruppi in circolazione, penso ai Bardo Pond, e un bel po’ di pezzi rock psichedelici tosti tipo Warlocks (“Death Star, inc”, i dieci minuti di “Who’s Gone What’s Missing”) e le astrazioni lunari di “Godless Clouds” che rimandano a una mistura tra Red Krayola e sperimentazioni a bassa fedeltà di scuola Sparklehorse.

Non è secondario l’imprinting ideologico marcatamente alternative del gruppo e in una dimensione e un paese dove essere “contro” in questo momento significa veramente essere contro qualche cosa di insano (ma qui da noi le cose non sono poi così differenti). Seguono testi che mettono assieme visioni nello stile Burroughs, veri incubi sotterranei, e la fantascienza di K.W. Jeter, subliminali radiotrasmissioni tratte dalle pagine di “Dr Adder” in un capolavoro distopico gigantesco che č quel futuro che a San Paolo è giā presente e questo disco, tutto questo, te lo sbatte in faccia con la forza di una valanga e molto di pių delle solite colorazioni acquarello tropicali con cui siamo abituati a vedere il Brasile e in generale il Sud America. Oppure questi colori sono gli stessi, ma filtrati attraverso radiotrasmissioni pirata, la vecchia mitologia dei cibernauti. Voto altissimo.

Emiliano D’Aniello, Italy
JUNE 2019

Pity São Paulo band Firefriend, who’ve been at it for over a decade and whose waves of superlative psych-gaze are only now reaching Europe’s judgemental shores. Yellow Spider is the prolific three-piece’s second LP in just over a year, however, and as usual it’s full to overflowing with fuzz, textural to the point of being tactile. Lashings of tremulous reverb once more throw up mirages so real you just want to dive right into these oases, but these are both fertile and dark conjurings. Consequently, Firefriend continue to take as much from Sonic Youth as they do traditional psych-rock, experimental ambience rubbing shoulders with the woozy guitars of shoegaze at times too. The result, as regular listeners will already know, translates their trademark stoned slow-burn into something quite special, the varied directions it leads them to incorporating spacey psych motifs and harder-edged head-nodding as well.

Alternating also between Yury Hermuche’s straining lost-down-a-well snarl and Julia Grassetti’s soothing coo, Yellow Spider is truly difficult to predict from one moment to the next. Take the smouldering “Juxtaposed Parallax”, for example, the gently persuasive mumblings in which recall The Brian Jonestown Massacre and The Velvet Underground’s most heavy-lidded moments. Who’d have guessed that just a few seconds later, on the fuzzed-out title-track, that we’d be talking about the atmospheric New York-school of cool guitars, Grassetti’s dangerous vocal particularly alluring in such surroundings. Not to be outdone, Hermuche embraces a partially doomed tone to narrate the epic closer “Shutdown Your Electronic Hallucinations” in drawling prose, the track’s mid-fi fug spooling out majestically as it sees fit, tightening when cornered, and – just for a minute – Yellow Spider’s outsider cool coalesces to the point where you begin to feel like an insider.

Best track: “Yellow Spider”

NOV 2018

The ever prolific São Paulo-based trio of ‘Firefriend’ continue to plough a deep sonic furrow in todays modern psych firmament. With a plethora of releases since 2009 it comes as no surprise at all to us that these guys show no signs of slowing down anytime soon. Their latest release entitled ‘Yellow Spider’ oozes the same sonic brilliance witnessed on this years previously released (April 2018) long player ‘Sulfur’, diving headlong into slow burning psych melded with hazy passages of shoegaze, but there are also subtle signs of a more noisier, up-tempo approach creeping in to the bands sonic arsenal that is very refreshing. The band are made up of Julia Grassetti – bass/vox/keyboards, C.Amaral – drums/synth/harmonica & Yury Hermuche – guitar /vox. Not officially unleashed until the 2nd of November 2018, ‘Yellow Spider’ is the second full length album from ‘Firefriend’ to be jointly released by both the UK-based Cardinal Fuzz Records & Portland-based Little Cloud Records this year so depending on your current location you can get your muggy paws on a copy from either or respectively.

Swirling instrumental drones, rattling percussion and an immense bass line collectively announces the arrival of track one ‘Surface To Air’. There’s a magnificent atmospheric pull to this track, a slow burning slice of modern psychgaze centred around a whirring drone that holds everything together thus allowing those howling vocalisations to float in a sea of reverb intertwined at times by the growl of guitar. ‘Surface To Air’ is a mesmerizing lysergic dipped sonic melee and a wonderful opening salvo. Up next, ‘Burning A Haunted House’ swerves into audible range strapped to a slow-moving wall of percussion and a massive wave of sonic energy. Menacing lines of vocal meander and creep through fuzzy layers of hypnotic drones as screaming clouds of feedback pepper the track to within an inch of its life. There’s a hypnotic melody here, a kind of lingering sonic addictiveness that is very hard to shake off making it one of the standout tracks on this entire release.

‘Ultra Violet Thing’ groans into existence on a woozy wave of angry guitar as bouncing lines of bass and tumbling drones merge into one almighty sonic barrage. Somewhere in the mix there is room for a distant vocal in amongst all of that electronic wizardry and those deep-rooted psychedelic incantations. And listen out for that immense finale; it’ll completely floor you. ‘Juxtaposed Parallax’ & ‘Yellow Spider’ are reminiscent of early Sonic Youth with jangling guitars, busy percussion and the luscious addictiveness of the vocal with the latter upping the tempo a little bit more, injecting a layer of stinging fuzz into the mix to accompany those long passages of turbulent noise whilst ‘The Third Wave’, the albums penultimate piece, dives headlong into a pool of hallucinogenic reverberation pulling with it slow-moving percussion and haunting vocalisations (reminiscent of the fantastic Velvet Underground & Nico) before splashing into the fizzing feedback-laden melting pot.

‘Yellow Spider’ closes out with a seven minute long psychedelic trip. ‘Shutdown Your Electronic Hallucinations’ opens with some fanciful guitar steeped in wide scoped reverberation, used primarily to lull the listener into a false sense of security before unleashing a repetitive guitar progression, metronomic rhythms and some undulating swells of instrumentation all circumnavigating a stunning vocal line topped with a haunting vocalised accompaniment. Yes ….. I have just used a heap of superlatives to explain what this track sounds like; but it is that bloody good. It’s a superb ending to what is a marvellous album.

OCT 2018

“Colpaccio della Little Cloud Records di Portland, Oregon che si aggiudica (diciamo così) la pubblicazione di questo LP dei Firefriend, band di San Paolo, Brasile e definita nelle stesse note di accompagnamento al disco come “una delle città più grandi, sporche e violente del mondo”. Diciamo che più o meno è la stessa definizione che darei alla città dove sono nato e dove sono cresciuto e dove vivo attualmente e chi lo sa se non sia anche questa cosa che mi avvicini in qualche modo ai contenuti della musica e dei testi della band composta da Yury Hermuche, Julia Grassetti e il batterista C. Amaral e che di conseguenza mi abbia portato ad amare incodizionatamente questo disco.

Autoproclamatisi una vera e propria “bestia a tre teste” il loro disco, “Sulfur”, è uscito il 6 aprile ed è sicuramente per quanto mi riguarda una delle novità nel genere neo-psichedelico più convincenti e anche tra quelle più accattivanti e che potrebbero richiamare una certa attenzione. I contenuti concettuali del disco sono calati dentro la realtà quotidiana che li circonda, una dimensione difficile e rappresentata in bilico tra sfumature noir e letteratura hard-boiled e che appare essere come densa e assorbire allo stesso tempo tutto quello che ci sta dentro. Una realtà oscena e dalla quale questa musica garage psichedelico (“Afterhours”) si dipinge inevitabilmente di trame oscure e ricche di sfumature (“Cosmic Background Radiation”) oppure taglianti come lame di un rasoio (“Solipsism”…), prima di calare in maniera ipnotica l’ascoltatore in uno stato estatico tra quadri drone tridimensionali (“Pacific Trash Vortex”), yelling noise di derivazione Yoko Ono (“Sulfur”) e onde sonore Spacemen 3 (“Cosmic Background Radiation”), allentando così quella tensione e quello stato di violenza richiamato, mutandolo in uno stato di opposizione e allo stesso tempo acquiescenza, autoconsapevolezza e perdita del controllo: una esperienza amniotica di orgasmo collettivo universale (vedasi la copertina del disco) che è alla fine la più grande rivoluzione possibile”
APRIL 2018

São Paolo’s Firefriend are back with a new LP, Sulfur, set for release on Portland based label Little Cloud Records on 6th April 2018. Previous EP, The Black Hole was a three song 21-minute offering which thrust the band back into popular consciousness. Firefriend don’t rush to the pop hook or stall itself in the crunchy riffs, it glides above everything else in its own orbit, echoing the best parts of psychedelic, shoegaze, and noise by taking it all into strange new fields of bliss.

The seven-track offering opens with ‘Afterhours’ with its distorted guitar giving way into fuzz laden riffs and disjointed drum rhythms with hints at primal rock influences coming up for air every now and again. This gives way to ‘Pacific Trash Vortex’, which takes its predecessors experimental elements and pushes them further, creating intoxicating mixtures of sounds that probably shouldn’t go together, yet somehow, they do and Firefriend make it work to their advantage. Title track ‘Sulfur’ channels space rock vibes with its heady mixture of dystopian electronic noise, ethereal vocals and warped guitars It builds in oscillating layers that grab attention with ever rotation.

‘Hello from the Children of Planet Earth’ introduces itself conveniently enough and then wastes no time in packing a punch, with its shoegaze influences gleaming through from the offset yet moves progressively into more psychedelic vibes as it continues, with lashings of reverb and delay. ‘Cosmic Background Radition’ takes its time developing its own sound, almost teasingly, but when its gets there, its worth it. Some may give up on it before it does, I urge you not too. ‘Solipsism’ is unaltered psychedelia, with a krautrock backdrop, the vocals are mesmerising and the way they play against the music is really quite something to behold. Concluding ‘Vintage Puzzle’ seamlessly blends sound bites, shoegaze hazy vocals, futuristic electronic noise and catchy guitar riffs. The puzzle here is unpacking the sounds and processing them.

Despite this being their ninth release, Firefriend remain relatively unknown, something tells me that Sulfur, with its provocative cover art is set to change that.
APRIL 2018

Grenzen waren Firefriend schon immer egal. So auch auf dem neuen Album, das Noise, Psych und Space Rock gleichermaßen behandelt.

Seit dem ersten Release von Firefriend sind auch schon wieder zwölf Jahre vergangenen. Seitdem gab es stolze acht Veröffentlichungen, die insgesamt mit Psych überschrieben werden können, aber doch unterschiedlich klingen. Gerne liefern sie straight ab, ergötzen sich aber auch an Experimenten, wie etwa zuletzt auf der „Black Hole“-EP.

Nun liegt der neunte Release vor. „Sulfur“ erscheint über Little Cloud Records und zeigt die Band aus São Paulo von verschiedenen Seiten. Firefriend sind hier sehr spacig unterwegs, driften ab, schrecken aber auch nicht vor unangenehmen Geräuschansammlungen zurück.

Straighte Rock-Parts werden durch Jams unterbrochen. Gerne lassen sich die Brasilianer Zeit, bis ein Track zur Entfaltung kommt. Eine Platte, die stets im Fluss ist. Und vermutlich ihre bisher stärkste Platte, denn alles funktioniert.

„Afterhours“ bietet als Einstieg noch herkömmlichen und sehr fetten Psych Rock mit ordentlich Reverb. Hier erinnern sie stellenweise etwas an die Wooden Shjips, wenn auch das Repetitive fehlt. Dann wird die Stimmung düsterer, der Sound unbequemer. „Pacific Trash Vortex“ und der Titeltrack schieben sich unangenehm hinein, fiepsen, wollen aufwühlen.

Ab „Hello From The Children Of Planet Earth“ verschwindet das bedrückende Gefühl und wir biegen in Richtung driftenden Space Rock ab. „Cosmic Background Radiation“ und „Solipsism“ sind ruhig und jammig, das abschließende „Vintage Puzzle“ ist experimenteller, bleibt aber harmlos.

Fazit: Sehr atmosphärische und aufregende Platte.
APRIL 2018

Questo trio psych di San Paolo, Brasile capitanato dalla vocalist e bassista Julia Grassetti (completano la formazione Carlos Amaral e Yuri Hermuche) ha il blues che gli brucia dentro l’anima. I Firefriend sono una formazione in giro già da una decina di anni e che ultimamente ha cominciato a attirare attenzioni anche oltre i confini nazionali, confermando peraltro l’ottimo momento per la musica psichedelica per quello che riguarda il Sud America. Ingaggiati dalla Little Cloud Records (che pubblicherà anche il loro prossimo LP “Sulfur”) il trio ha pubblicato lo scorso 28 gennaio questo EP intitolato “The Black Hole” che nonostante la brevità penso possa meritatamente essere definito come una vera e propria bomba. Il sound della band è una psichedelia drone infettata di quel sound noise derivato da esperienze come quella dei Sonic Youth o dei Blonde Redhead più sperimentali e riverberi ereditati dallal lunga tradizione dei 13th Floor Elevators. Su tutto però si erge imperiosa la voce e la espressività di Julia, una vocalist (che ricorda un po’ Tess Parks, la protetta di Anton Newcombe) che si potrebbe definire una versione al femminile di Jim Morrison e praticamente dedita a pratiche di ipnotismo che peraltro riescono perfettamente. Boh, che dire, sinceramente aspetto l’uscita del disco con grandi aspettative.
— Emiliano D’Aniello, ITALIA
JAN 2018

Firefriend suddenly got a lot less friend and a lot more fire. This is a sweeping, expansive, peyote trip down death valley. A sonic boom of an album that registers in the depths of the subconscious. “Death’n’Sound” finds this versatile Brazilian quartet at their most free, most dark, most sensual and most deadly.
Simon SixSmith, Netherlands
DEC 2013

... è piuttosto un meraviglioso caleidoscopio di influenze. I Firefriend non si fanno problemi a mescolare rock, jazz, percussioni latinoamericane, chitarre slabbrate ed effetti psichedelici. E il risultato è un disco insperatamente valido, che consegna i Firefriend alle mensole più alte e intoccabili della nostra discografia personale..
Linkiesta, Italia

O Firefriend investe pesado na dissonância, ruídos e experimentações, trazendo em seu mais novo rebento uma fusão estarrecedora e com poucos precedentes qualitativos em parâmetros nacionais e de genêro, encontrando nas raízes do shoegaze, free-jazz e psychedelic- rock a força motriz e direcionamento para a exploração hipnótica, brilhante e ousada presentes em Witch Tales
Al Schenkel, BRASIL

Setting aside the buzzy haphazardness and semantic dilution characterizing today’s use of “psychedelic” as a descriptor for music, look no further for utterly authentic, quintessential psychedelia—music that expresses and invokes extraordinary states of mind and perception—than the powerful, inspired rock of São Paulo, Brazil’s Firefriend. This prolific project has been releasing albums and EPs for a decade and consists of Julia Grassetti on bass, vocals, and keyboard; C. Amaral on drums and various electronics; and Yury Hermuche on guitar and vocals. They’ve been recording and producing in their own studio since 2016’s full-length, Negative Sun. 2017 EP The Black Hole and this year’s long-player Sulfur have followed, creating a stunning trilogy of self-recorded efforts, each one riveting from start to finish. Elite Portland psych label Little Cloud Records has done us the service of releasing The Black Hole and Sulfur in fine vinyl editions available from Little Cloud itself as well as from Cardinal Fuzz, while Negative Sun is available in digital form.

In the spirit of predecessors The Velvet Underground, Firefriend prize the authentic over the finely wrought, and in doing so achieve, like the Velvets, a very distinctive immediacy and presence. Some of Firefriend’s excursions are on the lengthy side—“Quiet Vampires”, the closing track of The Black Hole EP, runs 8:29 and takes up an entire side of the 12”—but even the lengthiest are gripping throughout. In sympathy with much of psychedelia, post-rock, and shoegaze, there’s a great deal of emphasis on sounds and textures, often strange ones. Both Julia and Yury deliver vocal incantations with a spoken and whispered feel while still subtly expressing melodic lines. Structures are unexpected and seem very organically grown, as if emerging from within the music rather than being imposed from without, while the tracks still move through a very specific sequence of transitions that are essential to their impact. The sum of these propensities is a wonderful fusion of song and experimentation—dark and heavy, jaggedly beautiful, uplifting in its ultimate effect.

The songs are not without melodic and rhythmic hooks, but the real 'hooks' in this material, the qualities that grab and hold our attention so effectively, are largely located elsewhere. The core of the music’s power lies instead in the way Firefriend seems always to take us somewhere, to portray and draw us into spaces and places—not literal geographies, but, in the great tradition of psychedelia, territories of mind and feeling. (The term “psychedelic”, coined in 1956 by a research psychiatrist for the purpose of bringing trip-inducing drugs such as LSD, mescaline, and psilocybin together under their own classifying rubric, has two Greek roots, “psyche”, meaning “mind”, and “delos”, meaning “manifest”; its literal meaning, then, is mind-manifesting, mind-revealing.) Extraterrestrial mindscapes shiver and unfold in the revealing beam of Firefriend’s starcraft headlights. 'We like to think,' Yury has told us in our electronic correspondence, 'that we are looking for new shapes and places…Don’t you feel that some songs, some records, are entire universes?'

Sulfur comes with a booklet insert titled 'Operating Manual for Planet Earth.' It lays out the bands entire discography while also, in accordance with the title, providing handy travel tips for any entity finding herself “lost on Earth”. Herein Firefriend advises, “Express yourself through any method you want. That’s how you become a transmitter, generating waves that will open connections with others vibrating on the same frequencies. That energy field will change the game.” Now that is a truly psychedelic perspective if there ever was one.

Firefriend has just finished putting visuals to Sulfur’s entire forty-two minutes. Stream the result immediately below.

Deep gratitude to Firefriend for taking time out for this interview and for releasing such an awful lot of really good music. Thanks also to Little Cloud for connecting us with Firefriend for the interview that follows.

'We take our ideas—sounds, riffs, chords progressions, whole songs—to rehearsals, where the band will then destroy them, and build a new thing out of their bits.'

How and when was the band formed?

JULIA: I didn’t know Yury very well back then, but he threw the best parties of 2006. I knew he was playing guitar and recording some tracks. I knew I had to play bass in that band. He invited me to record a cello. I jumped into it and also recorded some bass and vox. It really ended very well I think.

C.AMARAL: I joined the band back in 2011, to play some guitars. And then, at the beginning of 2014, I got the drums.

YURY: São Paulo is one of the largest, filthiest and most violent cities of the world, you got to make things happen—fast—otherwise you may end up stuck in an office you hate or in traffic or even getting killed. We started the band and played and recorded with several musicians until C.Amaral arrived in 2011. All these years! It's been a trip.

Can you tell us what the band has been working on and what you've got forthcoming in the near future (new releases, tour, etc.)?

YURY: We’ll play in the UK on Sept 4th! Manchester’s Astral Elevator booked our first gig there. We are also releasing a new album, it’s called Yellow Spider. All its seven tracks were written simultaneously with finishing our last album, Sulfur. The day we had the Sulfur masters done we were in the studio recording the drums for Yellow Spider. Everything came together real fast. I don't know if its wise to release new material so soon, but I can't help it, these new songs took over our minds so easily and I bet this new record will add perfectly for everyone who's tripping with Sulfur. And anyway we are addicted to recording and making albums.

C.AMARAL: We are playing, rehearsing and recording all the time.

JULIA: Yes we have this European tour coming, so now we are working on the songs we want to play there.

Do you consider your music to be part of the current shoegaze/dream pop scene, or any scene? Defining one's sound by genre can be tiresome, but do you feel that the band identifies closely with any genre? How do you feel about genres in music, in a general sense?

JULIA: I think we drink from several genres, since each one of us loves different things. But the three of us are keen to psychedelia and all it has to offer.

C.AMARAL: I don’t know, I think we travel across genres, including shoegaze, so I can’t put the band in one specific genre.

YURY: We like to jump into new songs without a map—feeding them with whatever we have on our hands and minds at the moment. We love to see how noise and melodies collide, where their wreckage falls. Sometimes it goes in one direction, then at the next second or song, we may end up in someplace else. Noise and melodies are in this unstable balance with most of our fave records and artists, as in life itself. Shoegaze and dream pop are different points of the same thread—yes, we are there, somewhere.

What do you think of modern shoegaze/dream pop/psychedelia artists, any favorites?

C.AMARAL: It’s fucking good!

JULIA: I think we are living a wonderful wave of these genres, there is a lot of good stuff going on. I’m so grateful to this blog, Psychgazer, where I’ve gotten to know amazing bands, like The Altered Hours, Rancho Relaxo and New Candys.

YURY: Buried Feather (Melbourne), Los Mundos (Mexico). Darker My Love (California) created insanely good music on their time. There is so much wonderful music being created today. Everywhere.

What is the most important piece of gear for your sound? Any particular guitars/pedals/amps that you prefer?

C.AMARAL: my bandmates—my friends playing with me.

How do you feel about the state of the music industry today? There is no doubt a massive change underway. How do you see it and do you feel it’s positive at all?

C.AMARAL: Sincerely I don’t know much about the music industry; the pace of technology is so brutal I just can’t track where it goes.

YURY: We are all trapped in this colossal digital revolution, and it’s liquefying everything. While I enjoy the promises of universal access and global connections, the flow of new music/images/information and how it could open our eyes, minds, and ears, I’m also concerned about its downsides, and there are many. That’s one hundred percent the liquid XXI century mood.

When it comes to label releases versus DIY/Bandcamp and the like, what is your stance, if any?

YURY: We love how Little Cloud Records takes care of our records. We share with those guys this love for music. We also released several albums as unsigned artists, before Little Cloud, and it’s amazing what one can do alone with the contemporary tools. I want every band releasing their work anyway because there is so much to say and often it’s a thousand times better than any blockbuster sequel or Netflix crap. Independent music and labels are the virus our culture needs so badly.

C.AMARAL: Hard to say. I like Bandcamp because there are no costs for musicians to post their work, and the website is also very efficient in building up a community around bands, inviting people to buy music from unknown artists.

Do you prefer vinyl, CD, cassette tape or mp3 format when listening to music? Do you have any strong feelings toward any of them?

JULIA: Vinyl. I’ve always listened to vinyl, since I was a kid, without earphones, that loud sound taking over the whole space, the low tones enveloping you. It’s comforting. C.AMARAL: I like vinyl for its format and sound, but I listen to music in every format. YURY: I can’t really dig MP3. It’s like low-res JPGs.

What artists (musicians or otherwise) have most influenced your work?

JULIA: Black Sabbath is the band I’ve most listened to, since I was thirteen years-old. Black Sabbath is always playing here at home. YURY: Velvet Underground, John Coltrane, Burroughs, Kerouac, Stooges, MC5. C.AMARAL: John Coltrane, Neil Young, Beatles, Spacemen 3, Can.

Can you tell us a little about what you are currently into (books, films, art, bands, etc.)?

C.AMARAL: I’m reading Here, There and Everywhere, the memoir by [Beatles engineer and McCartney producer] Geoff Emerick. And just watched D’après une histoire vraie by Roman Polanski.

YURY: Reality is my thing now. How it is distorted by media, corporations, and governments. Democracy is under attack—and Brazil is this forever laboratory for updating strategies and tools for massive brainwashing. Even before the 2016’s coup, the machine is working at its maximum here. The XXI century is turning into this complex vortex, echoes of the 1930s mixing with hyper-speed cables and environmental disasters. It’s fascinating and brutal.

If you had to choose one track that was the ultimate definition of your sound, which would it be and why?

C.AMARAL: “Dreamscapes” - I think this song captures, somehow, the essence of this band.

YURY: It can’t be defined by one track.

Can you tell us a little about the band’s song writing process?

YURY: We take our ideas—sounds, riffs, chords progressions, whole songs—to rehearsals, where the band will then destroy them, and build a new thing out of their bits. That’s an adventure we dig.

What is your philosophy (on life), if any, that you live by?

C.AMARAL: My philosophy is…keep me in debt so I can buy records forever.


Fiction writer Jack Beltane has given Firefriend an apt and eloquent write up that you can read here. Firefriend’s next album Yellow Spider drops on July 27th, 2018; pre-order the download here.

JUNE 2018

Manchester.London.New York.Berlin. All cities that we associate with having rich and varied musical histories and influences. They are all cultural melting pots of cities that have spawned some of the greatest bands of all time. As a lover of the kind of music that is never going to be called mainstream, I stumbled across a band going by the name of Firefriend. As I listened to their music, I heard the typical influences, the likes of Joy Division, The Sex Pistols,Velvet Undergound & The Jesus And Mary Chain. Nothing out of the ordinary there, I thought. Great band, cool sounds. I became a little more interested, as you do, and found the band hailed from São Paulo, Brazil of all places. This is where my mind struggled somewhat. Brazil. I ask anyone to give me an image of the country and it will be Copacabana beach, the Amazon, the 1970 World Cup team(best team ever to take to a football pitch!), the Samba or Christ The Redeamer. Even the Favelas. Not a brand of shoegaze psych that sounds like it came from a disused factory in the North of England, or an abondoned building in Berlin. I wanted to know more. So instead of taking the easy option and asking Google, I took the time to ask the band themselves. Don’t ask me why, I’m no jounalist or writer, but I felt compelled to learn more about the Northern British sounding band from São Paulo, Brazil. So, in the words of Yury & Julia of Firefriend, I’ll let them tell the story of how the band came to be. I asked how the band came about, and what influenced them, all the way over in Brazil.

Yury: My parents were hippies here in São Paulo back in the 70’s, I grew up immersed in the heady scents of incense & weed, listening to Jimi Hendrix, The Stones, Pink Floyd, Beatles and Led Zeppelin a lot, since year zero. Then a friend of mine went to London in the 80’s and brought back albums from the likes of Joy Division, Sex Pistols, Jesus And Mary Chain and those records blew my mind. All these sounds combined were groundbreaking and definitely mind-bending, for kids in all corners of the world — those records were like messages from another galaxy to me. It’s fascinating how they make you see reality through another prism. I bought my first guitar just after I got my hands on a mixtape of The Velvet Underground & Nico. That changed my life forever. I bet this is the history of thousands of teenagers living elsewhere on this planet. We start recognizing each other and suddenly we are at someone’s house jamming pretty loud and talking about shows and bands and then there’s an underground scene going on, first with xerox zines and then websites documenting the pulse of our musical community. It was like that back then as it’s still like that today. There are hundreds of bands messing around here.

Julia: Music has been part of my life since I was a kid, I have always needed music to deal with my life. I enjoy the energy of rock’n’roll and always looked for sounds that make my mind travel. This could come from any genre/style, it depends only on how you feel at that particular moment, how open you are to the sounds.

So, how does this translate into European tours and success in the USA & Australia? Not even Yury is sure.

Yury: Surprisingly, it was easier to get noticed & heard outside of Brazil. All reviews and interviews we got after our last album come from Europe, the United States and even Australia. Now there must be a lot of reasons for that, but I’m not sure why, yet. We’ll play in the UK, France, Denmark, and Germany in September, let’s see if we’re going to learn why it’s happening this way!

Pretty sure the reason their music has spread across the Continents is because, great music is great music. Wherever it comes from! I asked about the latest Firefriend album Sulfur, the bands 9th physical release and how the band maintain their motivation and fresh sounds.

Julia: I love to try new ideas, experimentation is an endless joy. Sometimes it feels like I’m entering new territories using new gear, new effects, it opens our sensibilities to new textures and melodies. That’s my way to keep doing new things.

Yury: Noise and melodies, if you push them out of the genre’s tradition and into the contemporary landscape, you gotta a really enticing monster to behold. That’s an adventure we dig, it helps us feel alive, it helps us build connections with people from every corner, it’s a dialogue that helps us to learn more about who we are. Every piece we read, watch, hear, every person we meet, there are multiple sources of meaning spinning in this astonishing swirl — give them a structure, a shape, and then you have something which you can stand on.

A more personal question I put to the band was the reasons behind making music and why they feel compelled to make it.

Yury: I need music to fill out the void of existence — the 21st century’s so mad. Truth is dead, god is dead, war is everywhere. Industrial trash is everywhere, in the sea, the air, our food and the natural world. Advertising keeps confusing everybody with its fake smiles — music is where one can breathe at last. So I need music to live here on this planet. We all need art, life is more than debts and TV shows. Art & music change our minds and cells and suddenly we are there answering with more music, our music, to feed that fire, to keep it burning.

Julia: It’s a release — and being able to make the kind of music you want to hear, that makes me happy!

Back to the reason I got intrigued by the band in the 1st place, Julia & Yury give me their feelings on the album Sulfur.

Julia: Close your eyes and let it take you somewhere else.

Yury: It tastes like the 21st century — Visceral & dark.

Here’s the latest song to be crafted by Firefriend, ‘Surface To Air’ Available from the 27th July fom the bands Bandcamp site. I would like to thank Yury & Julia for taking the time out to give me a brief insight into the band, and how a shoegaze/psych band came about in São Paulo, Brazil. Many thanks to Yury’s friend for buying the records and taking them all the way back to São Paulo.
— Kevin Drummond/FUZZY-SUN, UK
JUNE 2018