COME SEE US
MARCH 14TH @ MADAME CLAUDE
MARCH 20TH @ WHITE TRASH FAST FOOD RESTAURANT

Boy From Brazil is reborn!!!
new show feat. Hallucination Girl on the Keyboards and back up vocals.
check out this next clip from our last performance at Berlin Insane (Volksbuehne 2008).
http://www.youtube.com/watch?v=xZAqiZ6Fq1k

razi barakat is boy from brazil and
VJ sniper live visuals
the album covers a creative period of two years (2002-2004) and was made with the helping minds and hands of many collaborators and guest musicians: Captain Comatose, Christoph de Babalon, Patric Catani, Nicole Morier, Jörg Hiller, Gonzales, Naila Chaudry, Conrad Standish, Pascal Stoffels, Snax, Electronicat, Angie Reed, Tico Zamora. kick ass sleeve by SMVDL.

in the winter of 2006 Boy from Brazil hooked up with Tico Zamora at Polytrash to produce, write and arrange FUTURE BLASTS FROM THE PAST. luminaries such as Taylor Savy, Fred Bigot (Electronicat), Tim Gaine were invited to contribute on guitars to the project. during the course of these recording sessions it became evident that a band was needed. after many try outs it eventually came to the powerful line up that is to become THE ASSASSINATIONS. what name would be more accurate for a rock'n'roll band in 2007 , in a decade where words like car bombs, ethnic cleansing, suicide bombing, assassinations, kidnapping are the equivalent of elevator music on the news where cell-phone snuff of executions and beheadings, digicam pictures of torture, scatology and other humiliations usually reserved for aficianado pornographers has become common content in the mainstream media. by the way, there is two asses in the band name...

on a mission... to no return...
"i wish it was a hundred years from now...we'd all be dead and get along somehow...we're gonna see if all our miseries...are gonna add up to the mistery..." that pretty much sums up what this record is about...no hope garanteed... only uncertainty... "where we go when we die nobody knows..." the stuff we're made of... romeo rodeo... " he had to tear his heart out to save his soul... had to eat his heart out so he could play his role...."
past(minus)... future(plus)...

present=zero

of course "out of the past" is directly inspired by the VU live 1969 album, the lyrics referring to eliott murphy's great liner notes, the little bluesy guitar licks reminiscent of lou and sterling's work on "some kinda love", "candy says" or "pale blue eyes"...nicole did the main raw riffing on that one

"nobody" is loosely based on john lee hooker's "burning hell" and supposed to show my love for don van vliet and jeffrey lee pierce, both had a cataclysmic effect on my sense of hearing.
quentin dierick aka belch did some incredible work in rythm and harmony on these two songs based on a 36 hour session in arnheim, nl in the summer of 2005, we pounded out 6 songs out of the blue and into the black, more of those to be released in the near future i hope...

also becky ofek directed a video for "out of the past" that should be ready and to see by the end of september 2006, with the help of dez and vee of the crossover anti-cult, a french girl named marie reinert and some light assistance by my good friend jean-bapstiste filleau, nicolas moulin also swung by to help us makin' it happen...good about the idea becky came up with is that there is no one else but me to see in it...it pretty much sums up my life on the road as boy from brazil...

this record is for the perverted. wrong music in it's right mind, classified genres going out to lunch. something that should give everyone something to complain about, you never gonna get what you want out of it, only what i think you deserve.

collision was supposed to link cabaret voltaire to the kinks. "nagnagnag" collides with "you really got me". and i crossed the vocals melodies of ray davies's "i need you"(best song the troggs never wrote) and, here we go again, "you really got me".
like many of the songs on this album, it was written on vox continental organ run through a zoom fire, which made this old sixties organ sound like metallic k.o. i came to realize that all the great riffs had almost the same components and notes and that it was the phrazing that made it possible to tell one from another. chrisoph de babalon combined the breakbeat with the finely distorted electric bass. at one point i really got into the mad philosopher, historian and scientist Vladimir Velikoski who reinterpreted world's history based on natural catastrophes, his book "world's in collision" is quite unsettling, it suggests that there isn't even a proper logic in our planetary system, most planets rotate in different directions, at different speeds, with more then one or no moons with no logical or scientific explanation for it, basically it means you can't trust anyone and that there is no safety out there. which is kind of what the lyrics to the song are about, it celebrates the glamour and eroticism of car crashes, media paranoia and nuclear disaters. chic très chic tragic...

rubber & fur is a blatant rip off of new kind of kick, a song i had co-produced with shizuo and performed with shizuo and annika in the short lived live act "give up", naila's voice is featured at it's best on this lost gem of dhr's heyday. this time i wanted it to be daft punk vs. the cramps, rock'n'roll vs. disco on american deathmatch. i ran into tico zamora on the streets who just helped producing electrocute's kleiner dicker junge. in his high end quality studio we pumped the backtrack up to the max with endless layers of bass station, distorting nicoles guitar track beyond recognition, tico also played the magnificient endless solo on the funkytown part, he thought i was joking when told him i wanted it on the track. i wanted to prove that sixties motown beats, lipps inc., chuck berry, las vegas grind were just one thing. the beat is the most classical backbeat you can imagine except we used these late seventies disco drum sound cameo used. i think i never put so many effects on the vocals in my lifetime. the lyrics are very inspired by the late 30's pornographie of the "copulation blues" compilations and like in many other boy from brazil songs the wonderful "manual of unusual sex practices".

sick eyes was also written on the vox continental and is directly inspired by the works of mr. quintron. me and nicole were guests at his house in new orleans for a couple of month. lying in the bath tub i would listen quintron rehearse under water, a very pleasurable memory. when i started working on the song with pascal stoffels, i was listening to "miss you" and iggy and j. williamson's "kill city" all the time. snax who played all the leads on the organ recognized this.

pocket rocket queen is the first thing nicole came up with on a boss drum machine, yes, it sounds a lot like rocket in my pocket hence the title. lot of people thought of alan vega, the cramps, the B52's and the Flying Lizards when they heard it. i was thinking of alvin stardust or shakin' stevens, a little wayne county maybe...

le claqueur de doigts a, by now, a very well known gainsbourg song was made at the same time, in the same vein as pocket rocket queen. these two songs are actually the first boy from brazil songs. i just returned to berlin after four years in the usa, i had barely survived my excesses with the golden showers and needed to continue the rock'n'roll thing without the physical and mental handicaps that come with a band. berlin had already refined the concept that we all contributed to in that direction a few years earlier, stereo total, cobra killer where at their peak and good examples for the compability of extreme opposite genres. at that point i asked myself, what were the two lowest denominators in popular culture of the last fifty years and this was my answer: Elvis and Krafwerk (that could be suicide, huh?). so this is where i wanted to start....

high heels, go go shoes and platform shoes came next, but didn't make it on to the first ep. golden showers were already jamming on this weird instrumental of joe meeks and developing it into a song, then we broke up... i loved these surf guitar arabesques and was rediscovering the farting sounds of the korg ms 20 through patric catani, so we did just that. i'm very happy with the psychosexual deviant lyrics about this sick shoe fetishist who likes to be walked on: "when patent leather creaks, i get carried away" "i'll be the red carpet rolled ou at your feet" inspired by my extensive video and shoe collection. i heard some girls like to strip to it.

caligula rock is a title i've been carrying around for years, just waiting for the loop that would transcend the title into a song. i've always been fascinated with capricious despots, be they roman emperors, african or south american dictators, movie or rock diva bitches, lunatic writers, painters etc. christoph de babalon came up with the tribal rhythm, reminiscent of the ants or bow wow wow.

i just wanna fuck has its roots from a project i did with brezel göring in late 1999 called BURN BOLLYWOOD BURN that never found much recognition, brezel used one of the tracks(fuck bollywood) for his solo album and i reworked that loop originally called "towelheadz versus metalheadz" into this exploding car bomb high energy à la pussy galore meets n.w.a.

mainliners sect is about guiltless heroin addiction, a way of life in an art form called rock'n'roll, more pro than contra, 'cause people should do whatever the fuck they want with their lifes.
a swampy electro-blues, a tribute to the velvets and beefheart featuring a supercool electric bassline by conrad standish of the devastations.

treason to defeat is probably the closest thing on this album of being pop, the first two measures a joke on all the stupid ringtones you can get for your mobile. the bass line are a cross between "lust for life" and grace jones's "la vie en rose" with dramatic lead guitars et al. the lyrics reflect my disappointment with science, sex, the record industry and world politics. nicole and naila deliver the sweetest parts of the vocals.

america, a song by david essex that infested the radios in the mid-seventies, is one of my earliest childhood memories, cruisin' in backseat of my dad's orange volvo, a song taylor made for captain comatose who had the gentleness of producing the back track. disco blues at it's worst.

condoléaces is a chanson inspired by phil spector and david lynch with an aftertaste of bad lieutenant. the only song of mine gonzales liked and produced in a couple of afternoons. french is the only language in which a love song can be intellectualized. a funeral lullaby for a relationship gone wrong.

the great thing about kim is that he covers it all (in his own cum perhaps)! if you have all of his records (hypothetically), than (theoretically), you'd never have to listen to records made by anyone else.

the other day i found a dino lee live record, i had forgotten all about the man who in the late eighties proclaimed himself being the king of the white trash, back then nobody would have dared claiming such a wonderful title. my favourite song of his is "if you can't feed 'em, don't breed 'em"

let me tell you about james douglas morrison, the coolest asshole rock'n'roll ever had, forget the doors just stick to jim, he knew...