In conversation with Raphael Lobato, Laura Diaz shares details about the upcoming release of Teto Preto, Mamba Negra, and new inspirations for 2024.
Interview by Raphael Lobato // @realifeisnocool
Laura Diaz for Vetor Magazine by @6math66
R: Laura, what can you tell us about the next phase of Teto Preto? How has the process of creating the band's second album been?
L: This year, TETO closed its schedule and only performed in a show specially crafted for the 10th Anniversary Festival of MAMBA NEGRA, marking the official start of a new era with CARNEOSSO, Matheus Câmara, and Marian Sarine (Deaf Kids) leading the musical front, alongside choreographer and dancer Juana Chi and Bruxa Cósmica.
TETO PRETO by @pdrpinho
We are in the studio right now between November and December recording our second album "FALA". So far, there are 10 original tracks, and who knows, maybe a surprise track that we're trying to get clearance to re-record. It looks like we might add more before we're done, haha, I'm possessed. Just today, we started another new one, help!
Some of these songs I started composing in 2020, and with the pandemic, band changes, and tours, the songs have completely transformed until we arrived at these arrangements that the three of us worked on from scratch, each taking turns on different instruments. There's Mariano's bass, Matheus's voice effect samples, my noise solo and synth lines, along with some very classy surprises in the brass section.
It's an album about places of FAL(H)A (fault/failure). We have very dear and special collaborations with Saskia, Jup do Bairro, and Getúlio Abelha. You're not ready. It's a privilege to enter the band's 10th year with so many beloved people joining forces to bring this project to life and tour the world.
R: Describe an iconic, unique, and memorable moment for you at Mamba Negra.
L: Wow, there are so many... It's a decade of professionalizing organized chaos.
The first anniversary of Mamba was during the occupation of Ouvidor 63 in May 2014.
We held vigils and cultural revivals with high school students in occupied schools in 2015.
Then, when club owners came after the independent scene, we rallied in a rave protest on a truck-shaped like a soda can, going from D-Edge to City Hall.
A classic is Anna Operman dressed as Mrs. Claus on a water truck doing the morning wash-down during Badsista's set, turning into Spice Girls with Tati Lisbon (papisa) - undoubtedly one of those moments.
We also had beautiful moments at the 8-year online festival, where I directed multiple cameras, cranes, tracks, and also edited and finalized much of the commotion. It was EXPENSIVE, it was beautiful.
Also, some times our mommy Pablly (Pabllo Vittar) dressed up and horny as fuck inviting everybody to serve CUNT.
We started this year with the legendary Zaila, delivering everything while I opened the red sea pushing the gays on the dancefloor, like, SHOW SOME RESPECT!!!! The festival was amazing, just a ten years younger with Jalaconda's fashion show, an international ball, and coletivA occupation. We just had recently the WHOLE crowd singing Pitty at Jup do Bairro's concert. Wait for the following events because the last party of the year is one of the most wanted and loved editions.
R: How do you believe Mamba Negra transforms the creative nightlife circuit in São Paulo?
L: Mamba Negra is a tool for articulation, recognition, and empowerment of the independent community of women and LGBTQIAP+. We are much more than just a party; we've become a context in itself with festivals, Radio Vírusss, and the MAMBArec label. Our collective work is an international reference in Brazilian independent electronic culture, bringing together music, performance, audiovisuals, installations, graphic arts, and visuals.
I always say that while you can move faster alone, together we can go much further.
MAMBA NEGRA by @ivimaigabugrimenko
We are artists, professionals from various fields of culture, a radio station, a label, representing a territory of possibilities and freedoms for our bodies. We know that many of us are on the lips and moodboards of the mainstream industry, and now, more than ever, it's time for the underground to reap the fruits of these talents. Alongside other collectives in our community, we aim to achieve a future of less vulnerability and more abundance among us while we are alive.
R: What sounds have been inspiring and influencing you lately?
L: I love electronic music, I love songs, and I love Brazilian music. This year, I have the responsibility of being on the jury for the Brazilian Music Award, and it's been incredible to listen to everything - absolutely everything - that's been released here and get a sense of what's circulating.
"I CAME FOR THE MUSIC": I'm one of those too who is analog, I like to see a DJ set and live show to get it, I go after
My chaotic state of being encompasses some gems of Brazilian Popular Music (MPB) that I discovered in the dumps, dubstep, garage, breakbeat, funk, house, acid, industrial, hip hop, noise, punk, dub and steppas. This year I got into hyperpop and dived into "piseiro," "brega," reggaeton, "mandelão," national female rap and even questionable male country music
R: How do fashion and music connect in your creative process?
L: I see both fashion and music as extensions of my body, tools for expressing who I am and who I want to become. My machines, cables, heels, lenses, fiber nails, extensions, accessories, and TETO's costumes are only activated and inhabited in specific situations: during TETO performances. It's essential for the performance to be embodied, just like all the show preparation processes, because they disrupt the state of NORM/NORMAL. It's about rejecting boredom and thinking about bodies and contexts in motion.
Laura Diaz for Vetor Magazine by @6math66
R: In 2023, Mamba celebrated ten years creatively energizing São Paulo's party scene and inspiring numerous collectives across Brazil. How do you envision the future of electronic and independent party circuits in Brazil?
L: At both small and large-scale parties and festivals, few have survived without experiencing failures or losses, even those with hidden investors and playboys. Everything has become much more expensive. Mamba continued to deliver impeccable structure and service, festival-level lineups at party prices, and yet some people accept paying mainstream festival-level rent but complain about the price of independent party tickets.
It's tough, but it clearly shows who doesn't mind spending three times the amount on alcohol and outfits while complaining about the only thing that strengthens the local scene—struggling to maintain quality delivery. Priorities, right?
Apart from this privileged minority, the year was financially very challenging, and despite the relief of having Lula as president again, the independent cultural sector saw little improvement. In São Paulo, the situation has never been worse under Ricardo Nunes' administration.
Thanks to the efforts and dedication of everyone who works with us and the persistence of artists in the scene, Mamba has resisted for ten years, attracting a diverse new generation audience of women and LGBTQIAP+. The trend, as seen this year, is to focus efforts on the Festival and 4/5 parties annually to continue providing carefully crafted experiences for the Mamby world in constant transformation.