Here in Brazil, some bands are trying to expand boundaries in Metal, to create something new and different, so they can show the world what we have in cultural terms. But besides any of our politicians who would tell you that our social problems are solved (Lula and Dilma said such things so many times), they are lying. Yes, lying without feeling shame! Our Indian nations and the Afrodescendants are lacking attention and social justice, and they are dying in inhuman conditions. Some voices arose in Brazil, and one more that is going to call the attention for these problems, and showing the inconformity for it all is TAMUYA THRASH TRIBE, a Thrash/Death Metal quartet from Rio de Janeiro. Their first album, "The Last Of The Guaranis" is a scream of pure anguish for those without representative voice. As I told above, the quartet is a Thrash/Death Metal band, using very good melodies and arrangements, with an excellent technical level. But TTT (as we can call the band) is using different musical elements, as Brazilian percussions, some acoustic guitar parts, and exploring social/historical lyrical themes of our culture. Some of them will make you shed tears of sorrow, and see the politicians of Brazil as what they really are: a bunch of corrupt liars and even the religious ones are dirty to the core of their evil souls!

The album's producer is Sidney Sohn Jr that worked with bands as NORDHEIM and ANDRALLS, but as well with legendary regional musicians as Hermeto Pascoal (I truly recommend you to know his work as well). He got the idea, and gave the album an aggressive and darker sound quality, that is clean for you to understand what the band is playing, and all the instrumental details of the songs. This Digipack format is usually seen on DVDs, but the band used it to show a reality of our country: in the front cover, you see a crying Indian child, but when you open the entire art, you see the child holding a gun and pointing it to his/hers on head. It's a shocking art created by Isabele Araújo, with a concept from Luciano Vassan (and inspiration comes from a pic from the photo journalist Steve McCurry), that wants to express the reality about our Indian nations: when the politicians, businessmen and great farmers: They took their lands without mercy (and without making any treaty with them), so as our Indians are extremely linked to the land where they were born, to take them out is the same as killing them, so they commit suicide (and we have high numbers of Indians suicide on Brazil).

Along with the energy of their songs, you will feel a strong and melancholic atmosphere permeating "The Last Of The Guaranis" (Guarani is one of our greatest Indian ethnicity on Brazil), and we have some great special guests on the album:  the Guarani Children choir Mbya on "Oreru Nhamandú Tupã Oreru", Zândhio Aquino (from ARANDU ARAKUAA) on percussion and vocals on "The Voice of Nhanderu (Von)", the melodic chant of the Babalorixá (a Priestess from Afro-Brazilian cults as Umbanda and Candomblé) Gleys Graden on "Brado de Xangô" (and old religious song from Umbanda, composed by Ivo de Carvalho), Mário Mamede and Dudu Bierrenbach (both are Ogãs from Umbanda, or how I can say, percussionists) on "Senzala/Favela" and "The Conjuration (Martyr)", Paula Perez on percussions as well on "Senzala/Favela", "Violence and Blood" and "The Conjuration (Martyr)", João Cavalcanti (singer from a Samba band called CASURINA) doing the vocals on "Vinte e Cinco", Marcelo Peixoto (A.K.A. Marcelo D2, vocalist from Rapcore band PLANET HEMP) doing vocals on "Senzala/Favela", and the Indian poet and activist Zahyr Guajajara on female vocals on "Háhé'm".

"The Last Of The Guaranis" is one of the greatest Metal albums that a Brazilian band ever done, and is truly difficult to analyze it with few words, but as its best moments, we can point to "The Voice of Nhanderu (Von)" (a thunderous song, filled with excellent guitars and vocals, even the clean ones, and some Indian percussions can be heard), "Brado de Xangô" and "Senzala/Favela" (the first is a short intro, based on an old song from Umbanda, and the second is a song with very good tempos, bitter and expressing the revolt against the inequality of chances given to poor Afrodescendants, linking their past as slaves in the farm to the actual picture of poverty on the slums of Rio de Janeiro. And the presence of the Rap vocals of Marcelo D2 makes this feeling stronger. And Xangô is the Yorubá god of Justice), the strong and touching atmosphere of "The Last Of The Guaranis", the Xote (a regional rhythm of the Brazilian Northeast) heard on the melodic "Vinte e Cinco", the heavy grasp of the slow groove of "Violence and Blood", and the somber and introspective melodies of "Uratau's Cry" and "Háhé'm" (that is the adaptation of a poetry on Guarani language from Zahy Guajajara, and the song's name means "whisper").

On the second CD, we have their first EP, "United", in a remastered version, with some surprises: The first is that the parts of the drums and bass guitar were rerecorded by Bruno and J.P., and the songs became filled with a very good technical work from both, specially "Immortal King", "1814" and "Tamuya". And the last two songs are acoustic recording from "The Last Of The Guaranis" sessions. So "Immortal King" and "Tamuya" are shown on a different point of view, but we can feel their musical potential. So, as you all can testify, "The Last Of The Guaranis" is here to change the rules in Brazilian Metal.