Text by Thiago Pimentel, in partnership with the Preto no Metal collective.
Rock, rap, funk, soul, blues, samba, reggae. Could you quantify the influence of Black people on musical genres? In this context, what boundaries define the main categorizations of music? And what are the possible limits for articulating, crossing, and modifying these sonic expressions?
Broad questions that are gradually expanding their reach beyond the walls of universities. But which, thankfully, continue to be answered and reaffirmed by art. This is the case with PERPÉTUO , the fourth (and most recent) album by the Minas Gerais band Black Pantera . And which, in its 38 minutes – distributed across 12 compositions – shows the group's ability to articulate (well!) diverse musical genres.
Rock? Black influence? The trio – formed by Charles Gama (vocals and guitar), Chaene da Gama (bass and now vocals), and Rodrigo Pancho (drums) – has been releasing solid work since 2014 (most notably the 2022 album Ascensão *) and gradually increasing its audience. This achievement is even more significant considering they are Black musicians from Uberaba (MG), playing rock and raising the anti-racist flag, the black flag (literally, on the album cover). All while singing in Portuguese.
The intention to reclaim the bloodied roots of Black people, within the perpetual colonial process, as well as the history of rock itself, is declared. Furthermore, here Black Pantera expands its vocabulary within Black music. After the excellent Ascensão (2022) and several successful shows across the country, what can we expect from Black Pantera in 2024?
The answer begins in the introduction: their first single, “PROVERBS,” is a straightforward track with a catchy chorus and the usual punk-metal elements. But something sounds different. There's greater accessibility, both in terms of arrangement and mixing, and an even more effusive lyrical conviction than in previous works. Echoes of Lélia González reverberate in the band's Afro-Latin lyrics. Black Pantera brings theoretical perspectives to the field, to art – decolonization! More than ever, the Black Portuguese language is present in the lyrics as well.
The turning point: Chaene da Gama's (cleaner) vocals come into play, but they stand out mainly on the title track, which, once and for all, shows the trio exploring other sonic possibilities. For example, the bass gains even more prominence in more solo-like lines, and at this point, the listener can notice an emphasis on a new dynamic: the exchange of vocals between the Gama brothers.
The process also follows the flow of the tracks, as "BOOM" resumes the heaviness and aggressiveness (with a great performance by Charles in his vocal drives) before "TRADUÇÃO" gives even more space to Chaene's clean singing.
Enhanced with a beautiful music video released on Mother's Day, "TRADUÇÃO" is primarily driven by the bass and vocals of the bassist in a beautiful tribute to Black mothers. The sonic choices should especially move those nostalgic for Brazilian rock from the 2000s – particularly names like Charlie Brown Jr. and O Rappa . The lyrics, once again, bring up discussions around race, class, and gender in the Brazilian social context. But the message is straightforward: it's presented in an accessible way and, despite its focus, is touching in a broader sense.
And where's the heaviness? It resurfaces in a well-balanced way, with funk passages, in the excellent "FUDEU". The mix between groove and aggression is done in such a way that the situation, illustrated in the lyrics, connects with the instrumental intensity – which "responds" to the nuances of the verses.
The bar is raised with the excellent "PROMISSÓRIA" (whose lyrics reflect on the consequences of slavery), "CANDEIA" – where Pancho's drumming is the highlight, bringing maracatu to the rhythmic vocabulary – and "BLACK BOOK CLUB". In the latter, the main riff, with its groove , wouldn't be out of place in any Rage Against the Machine . The hooks in the choruses and backing vocals indicate one of the songs that, live, can engage the audience. It's a trio of songs that not only reflects but calls for revolutionary action. Indeed, reading the "black book" is essential for the survival of Black people.
Passing the halfway point of the album, it becomes clear – even on a first listen – that not only do the arrangements employ diverse dynamics, but the track order also favors flow and diversity. The journey between multiple sounds is executed fluidly. We've had the heaviness. But what about the speed? The short track "SEM AMISTIA" emerges abrasively. The hardcore/thrash metal catharsis gives vent to the band's stance on the fateful pro-coup acts of 2023 in Brasília. By far the most aggressive track on the album, and one that I suppose could get a few replays during the shows – God, Fatherland, Family, Coup d'état!
Closing the album, “MAHORAGA” (with a title referencing the manga/anime Jujutsu Kaisen ), “METE MARCHA,” and “A HORDA” maintain the high level. The final track is sure to satisfy fans of the band's heavier moments. It's one of the songs where Charles shines most in riffs (and solos, too), and it's likely to work well for the band's more energetic live performances. In under 40 minutes, PERPÉTUO concludes and invites fans to listen .
What would the world be without Black music? This question is one of the most powerful raised by the band and, not by chance, is part of the title track of this record. At the center of this crossroads, of rich Black musical history, Black Pantera places PERPÉTUO. In the form of one of the musical genres of Black origin most associated, today, with whiteness, the band from Minas Gerais connects other Black rhythms and influences. And it is the groove , the connection between the musicians, that binds and brings cohesion to the band's diverse passages and influences, in addition to the security of its social and political stance.
In response to the questions raised at the beginning of this text, Black Pantera modulates its music, its art. And it brings accessibility to moments that are heavy and sometimes too experimental for a broad audience. The possible answers lie in the lyrics, but mainly in the music – in the groove mainstream success follow .
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