Cinema Paradiso Recordings
Released July 5th
Mueran Humanos are the Argentinian, Berlin-based synth-goth duo releasing their third LP on the 5th of July. Rhys Delany reviews for Louder Than War.
Mueran Humanos are made up of Carmen Burguess (vocals, drum machine, Moog synth, samplers) and Tomas Nochteff (vocals, bass, MPC, tapes). Together they create vast post-industrial soundscapes possessed by the darkest form of magick.
Hospital Lullabies is the third album by the group and their first in four years. I would’ve assumed some change in style or quality since 2015’s incomparable Mistress, but alas the group sound as though they never stopped. All three Mueran Humanos albums flow seamlessly into one another, with the final track of Mistress, Epilog, acting as the intro of Vestido. Hospital Lullabies sees the group expanding into a multimedia project, with a film of the same name being released in tandem.
The film is an experimental DIY art-piece created entirely by Burguess. The film utilises her ‘synchronicity haunting’ technique to compile and edit archival footage along with newly shot sequences, which works alongside the music of Mueran Humanos.
The band has been entrenched in an art-meets-music style, ever since their inception. Influenced by COUM-Transmissions and working closely with members of and in the studio of Einstürzende Neubauten, you can get a sense of the attitude of the group.
In the build-up to Hospital Lullabies, the band has released two singles. La Gente Gris and Vestido with accompanying music videos directed by Burguess. The first single is translated as The Grey People, with Burguess longing for those that pass us by and blur into obscurity, like the passing on a photo of an old train or the fish that float dead down the river. Vestido often brings an optimistic Terry Riley-esque minimalism twinned with the motorik electronics of Kraftwerk. As the song builds with progressive intensity, the quickly becomes a standout track on an outstanding album.
It’s difficult to pick out individual tracks as being better than one another as the album is at its best when played from start to finish. Mueran Humanos know when to drop an electro-dance anthem such as Detrás de une Flor with a bassline that echoes Peter Hook circa-1981, but also when to slow things down to the softly poetic Cuando una Persona Común, which sounds as though it was lifted from the Black Mass of Alistair Crowley.
Their self-titled debut felt brooding and gothic. Their second album was filled with danceable intensity. Their third album breathes optimism and positive energies. Mueran Humanos wear their influences on their sleeve but are not defined by them, instead, choosing to operate within an ethereal soundscape of their own creation. In a decade Mueran Humanos have remained consistent and cohesive whilst moving forward into brighter territory.
Hospital Lullabies can be purchased here on July 5th.
All photographs courtesy of Pilar Gost.