Dead Level Dead Level EP Review





Brazil‘s
Dead Level are a bit of an anomaly among the current crop of
South American underground bands currently making waves outside of their homeland, the five piece band, consisting of
Uirá Seidl (vocals),
Leo Venturieri (lead guitar),
Aramys Souza (rhythm guitar),
Paulo Siqueira (bass) and
Alan Sampaio (drums), take their influences not only from the usual hard rock/metal gene pool but also from the more raucous grooves of the punk and garage scene, The band then confound things even further by throwing in a little hip hop colouring and rock/pop commerciality creating a sound that is slightly schizophrenic but highly enjoyable, a sound that can be heard on the bands self titled debut EP ”
Dead Level


Hellcome” opens
Dead Level’s account, an instrumental that sees
Souza laying down a heavily fuzzed refrain supported by
Siqueira‘s grizzled bass lines and
Sampaio‘s cymbal dominated percussion over which
Venturieri lays soaring lead guitar colouring, gradually building his solo’s up layer by glorious howling layer.


Dead Level” follows and builds from a deliciously grainy and distorted
Siqueira bass riff, that is then joined by
Sampaio‘s shimmering percussion, into a gnarly off-kilter stoner groove that introduces
Uirá Seidl ‘s vocals for the first time.
Seidl’s voice adds a whole new dimension to
Dead Level’s overall sound his big voice, slightly accented with a penchant for rap style phrasing, roars, shouts and f-bombs all over the songs mix of eerily occult and slightly warped doom-like grooves, spitting out his lyrics like a lay preacher in bondage trousers.


Cut The Crap” sees
Souza chopping out fuzz drenched chords that splutter and stutter just above
Siqueira and
Sampaio’s equally stuttering backdrop of rhythmic groove, the bassist and drummer locking in tight and laying down a bedrock of stop/start groove that as an almost hip hop metre to its delivery. Over this plethora of fractured rhythms and refrains
Seidl serves up a vocal that mixes rap-like angst with cool mellow melodies which
Venturieri compliments with curly little blues licks and solos.


Birmingham Road” finds
Dead Level mixing things up a little with mellow crisp, clean pop/rock vocal melodies sang over a rather laid back rock groove occasionally broken up by a circular refrain and overlaid with a swirling, seemingly,ever-present guitar solo. Slightly more commercial sounding than the previous three tracks it nevertheless shows there is more than one side to this band.


Dead Level are not the finished article quite yet but this EP shows there is enough potential here to make it worth checking them out…..

© 2017 Frazer Jones






Brazil‘s
Dead Level are a bit of an anomaly among the current crop of
South American underground bands currently making waves outside of their homeland, the five piece band, consisting of
Uirá Seidl (vocals),
Leo Venturieri (lead guitar),
Aramys Souza (rhythm guitar),
Paulo Siqueira (bass) and
Alan Sampaio (drums), take their influences not only from the usual hard rock/metal gene pool but also from the more raucous grooves of the punk and garage scene, The band then confound things even further by throwing in a little hip hop colouring and rock/pop commerciality creating a sound that is slightly schizophrenic but highly enjoyable, a sound that can be heard on the bands self titled debut EP ”
Dead Level


Hellcome” opens
Dead Level’s account, an instrumental that sees
Souza laying down a heavily fuzzed refrain supported by
Siqueira‘s grizzled bass lines and
Sampaio‘s cymbal dominated percussion over which
Venturieri lays soaring lead guitar colouring, gradually building his solo’s up layer by glorious howling layer.


Dead Level” follows and builds from a deliciously grainy and distorted
Siqueira bass riff, that is then joined by
Sampaio‘s shimmering percussion, into a gnarly off-kilter stoner groove that introduces
Uirá Seidl ‘s vocals for the first time.
Seidl’s voice adds a whole new dimension to
Dead Level’s overall sound his big voice, slightly accented with a penchant for rap style phrasing, roars, shouts and f-bombs all over the songs mix of eerily occult and slightly warped doom-like grooves, spitting out his lyrics like a lay preacher in bondage trousers.


Cut The Crap” sees
Souza chopping out fuzz drenched chords that splutter and stutter just above
Siqueira and
Sampaio’s equally stuttering backdrop of rhythmic groove, the bassist and drummer locking in tight and laying down a bedrock of stop/start groove that as an almost hip hop metre to its delivery. Over this plethora of fractured rhythms and refrains
Seidl serves up a vocal that mixes rap-like angst with cool mellow melodies which
Venturieri compliments with curly little blues licks and solos.


Birmingham Road” finds
Dead Level mixing things up a little with mellow crisp, clean pop/rock vocal melodies sang over a rather laid back rock groove occasionally broken up by a circular refrain and overlaid with a swirling, seemingly,ever-present guitar solo. Slightly more commercial sounding than the previous three tracks it nevertheless shows there is more than one side to this band.


Dead Level are not the finished article quite yet but this EP shows there is enough potential here to make it worth checking them out…..

© 2017 Frazer Jones




Brazil‘s
Dead Level are a bit of an anomaly among the current crop of
South American underground bands currently making waves outside of their homeland, the five piece band, consisting of
Uirá Seidl (vocals),
Leo Venturieri (lead guitar),
Aramys Souza (rhythm guitar),
Paulo Siqueira (bass) and
Alan Sampaio (drums), take their influences not only from the usual hard rock/metal gene pool but also from the more raucous grooves of the punk and garage scene, The band then confound things even further by throwing in a little hip hop colouring and rock/pop commerciality creating a sound that is slightly schizophrenic but highly enjoyable, a sound that can be heard on the bands self titled debut EP ”
Dead Level


Hellcome” opens
Dead Level’s account, an instrumental that sees
Souza laying down a heavily fuzzed refrain supported by
Siqueira‘s grizzled bass lines and
Sampaio‘s cymbal dominated percussion over which
Venturieri lays soaring lead guitar colouring, gradually building his solo’s up layer by glorious howling layer.


Dead Level” follows and builds from a deliciously grainy and distorted
Siqueira bass riff, that is then joined by
Sampaio‘s shimmering percussion, into a gnarly off-kilter stoner groove that introduces
Uirá Seidl ‘s vocals for the first time.
Seidl’s voice adds a whole new dimension to
Dead Level’s overall sound his big voice, slightly accented with a penchant for rap style phrasing, roars, shouts and f-bombs all over the songs mix of eerily occult and slightly warped doom-like grooves, spitting out his lyrics like a lay preacher in bondage trousers.


Cut The Crap” sees
Souza chopping out fuzz drenched chords that splutter and stutter just above
Siqueira and
Sampaio’s equally stuttering backdrop of rhythmic groove, the bassist and drummer locking in tight and laying down a bedrock of stop/start groove that as an almost hip hop metre to its delivery. Over this plethora of fractured rhythms and refrains
Seidl serves up a vocal that mixes rap-like angst with cool mellow melodies which
Venturieri compliments with curly little blues licks and solos.


Birmingham Road” finds
Dead Level mixing things up a little with mellow crisp, clean pop/rock vocal melodies sang over a rather laid back rock groove occasionally broken up by a circular refrain and overlaid with a swirling, seemingly,ever-present guitar solo. Slightly more commercial sounding than the previous three tracks it nevertheless shows there is more than one side to this band.


Dead Level are not the finished article quite yet but this EP shows there is enough potential here to make it worth checking them out…..

© 2017 Frazer Jones



Brazil‘s
Dead Level are a bit of an anomaly among the current crop of
South American underground bands currently making waves outside of their homeland, the five piece band, consisting of
Uirá Seidl (vocals),
Leo Venturieri (lead guitar),
Aramys Souza (rhythm guitar),
Paulo Siqueira (bass) and
Alan Sampaio (drums), take their influences not only from the usual hard rock/metal gene pool but also from the more raucous grooves of the punk and garage scene, The band then confound things even further by throwing in a little hip hop colouring and rock/pop commerciality creating a sound that is slightly schizophrenic but highly enjoyable, a sound that can be heard on the bands self titled debut EP ”
Dead Level


Hellcome” opens
Dead Level’s account, an instrumental that sees
Souza laying down a heavily fuzzed refrain supported by
Siqueira‘s grizzled bass lines and
Sampaio‘s cymbal dominated percussion over which
Venturieri lays soaring lead guitar colouring, gradually building his solo’s up layer by glorious howling layer.


Dead Level” follows and builds from a deliciously grainy and distorted
Siqueira bass riff, that is then joined by
Sampaio‘s shimmering percussion, into a gnarly off-kilter stoner groove that introduces
Uirá Seidl ‘s vocals for the first time.
Seidl’s voice adds a whole new dimension to
Dead Level’s overall sound his big voice, slightly accented with a penchant for rap style phrasing, roars, shouts and f-bombs all over the songs mix of eerily occult and slightly warped doom-like grooves, spitting out his lyrics like a lay preacher in bondage trousers.


Cut The Crap” sees
Souza chopping out fuzz drenched chords that splutter and stutter just above
Siqueira and
Sampaio’s equally stuttering backdrop of rhythmic groove, the bassist and drummer locking in tight and laying down a bedrock of stop/start groove that as an almost hip hop metre to its delivery. Over this plethora of fractured rhythms and refrains
Seidl serves up a vocal that mixes rap-like angst with cool mellow melodies which
Venturieri compliments with curly little blues licks and solos.


Birmingham Road” finds
Dead Level mixing things up a little with mellow crisp, clean pop/rock vocal melodies sang over a rather laid back rock groove occasionally broken up by a circular refrain and overlaid with a swirling, seemingly,ever-present guitar solo. Slightly more commercial sounding than the previous three tracks it nevertheless shows there is more than one side to this band.


Dead Level are not the finished article quite yet but this EP shows there is enough potential here to make it worth checking them out…..

© 2017 Frazer Jones



BrazilDead LevelSouth AmericanUirá SeidlLeo VenturieriAramys SouzaPaulo SiqueiraAlan SampaioDead Level


HellcomeDead Level’sSouzaSiqueiraSampaioVenturieri
Dead Level SiqueiraSampaioUirá SeidlSeidl’ Dead Level’s
Cut The CrapSouzaSiqueira Sampaio’sSeidl Venturieri
Birmingham RoadDead Level


Dead Level

Source: Desert Psychlist