原始文明与现在文明的战争 - 巴西Brutal Death Metal / Goregrind乐队Harmony Fault专访

Volcano Magazine
6 minutes ago
44 min read

作为极端金属在南美洲一直发展的非常迅猛，巴西，阿根廷，智利，厄瓜多尔，秘鲁等等国家都有大量的优秀乐队，其中在巴西更拥有更多的优秀乐队活动，当然杂志也多次的采访到来自巴西这个国家的乐队，那么今天再次采访到一支来自巴西的老牌乐队Harmony Fault，组建于2002年的Harmony Fault乐队，绝对是目前巴西最有资历，最地下的乐队之一，今年也是乐队组建的第24个年头了，发行了三张正式专辑以及和其他国家的优秀乐队合作的专辑，Harmony Fault演奏的是Grindcore和厚重的Death Metal风格的作品，Impaled、Regurgate和Impetigo等乐队。音乐以中速为主，在Grindcore与Death Metal之间来回切换，在他们的当中还穿插着一些Groove的元素，这样让乐队保持着年轻人一般的活力，乐队作品当中最大的特点就是吉他的音色厚重，给人一种粘稠，血腥，恐怖的感觉，歌手尖叫式的演唱更是提升了乐队Sick感觉，2024年的第三张专辑是目前最引人关注的作品之一，虽然Harmony Fault乐队在中国并没有受到更多歌迷的关注，但是他们的作品是非常值得更多中国歌迷关注的，在前不久乐队的鼓 / 歌手也是乐队的创始人的Calebe与杂志取得联系进行了一次专访！

（V: 代表笔者 C: 代表Calebe）

As extreme metal has been developing rapidly in South America, countries such as Brazil, Argentina, Chile, Ecuador, Peru, etc. have a large number of excellent bands, with more excellent band activities in Brazil. Of course, magazines have also interviewed bands from Brazil many times. Today, we interviewed an old band from Brazil called Harmony Fault, which was formed in 2002. It is definitely one of the most qualified and underground bands in Brazil at present. This year is also the 24th year of the band's formation, and they have released three official albums as well as albums in cooperation with excellent bands from other countries. Harmony Fault plays Grindscore and heavy Death Metal style works. bands such as Impaled, Regulate, and Impertigo. The music is mainly medium speed, switching back and forth between Grindcore and Death Metal, interspersed with some Groove elements, which keeps the band energetic like young people. The biggest feature of the band's works is the heavy sound of the guitar, giving people a sticky, bloody, and terrifying feeling. The singer's screaming singing also enhances the band's Sick feeling. The third album in 2024 is currently one of the most eye-catching works. Although Harmony Fault band has not received more attention from fans in China, their works are very worthy of more attention from Chinese fans. Recently, Calebe, the drum/singer and founder of the band, contacted a magazine to do so. I had an exclusive interview!

(V: representing the author C: representing Calebe)

采访对象：Calebe（Harmony Fault乐队鼓 / 歌手）

采访时间：2026.06.24

V: 你好兄弟。很高兴见到你，非常感谢你参加这次采访。我相信这是你们乐队第一次接受中国杂志的采访。首先，请给中国的歌迷朋友们留下问候。Harmony Fault成立于2002年，历史悠久。你一开始是怎么组建乐队的？

Hello, brother. Nice to meet you and thank you very much for taking part in this interview. I believe this is the first time your band is being interviewed by a Chinese magazine. First of all, please leave a greeting to Chinese fans and friends. Harmony Fault was founded in 2002 and has a long history. How did you form the band in the beginning?

C: 首先，我们要感谢您的空间，感谢您对Harmony Fault的兴趣，以及有机会与中国观众交谈。我们很荣幸能参加这次采访，尤其是因为这是乐队首次接受中国出版物的采访。我们向所有音乐爱好者、金属爱好者和地下支持者致以特别的问候，他们让这一场景在中国保持活力。我们很高兴知道我们的音乐已经传播到如此遥远的地方，能够与来自不同文化和现实的人分享我们的作品。Harmony Fault于2002年在巴西南部南里奥格兰德州的拉贾多市形成。Lajeado距离该州首府阿雷格里港约115公里。这是一个内陆城市，但在20世纪90年代和21世纪初，它的地下活动非常活跃。为了给外国读者提供一些背景，Lajeado和Vale do Taquari地区在2024年因袭击南里奥格兰德州的巨大洪水而出名。这场悲剧中一些最强烈的画面恰恰来自拉杰阿多和附近的城市，破坏、戏剧性的救援和整个社区都受到了影响。乐队诞生于一个非常简单而真诚的愿望：尽可能多地制造噪音。但它也源于成员之间的友谊。除了做朋友，我们还喜欢一起出去玩，听音乐，烧烤，喝啤酒，谈论乐队和看电影。这段关系也有一种书呆子的一面，一种不断发现新事物和交换参考的好奇心。总的来说，我们都是Grindcore、Noise, Extreme Death Metal和嘈杂音乐的粉丝，能和朋友们一起发出这种声音，我们感到非常高兴。在任何更大的野心之前，Harmony Fault来自那个交汇点：友谊、噪音、音乐发现、共存和成为地下组织一员的愿望。最初的阵容直接来自另一个名为Carkemis的乐队的末尾，该乐队演奏了一种更注重研磨/噪音的声音。在某种程度上，Harmony Fault诞生于与前一刻的决裂。乐队的第一个演示，*Pedaços de Carne Podre*，已经以一首名为“Misantropia”的歌曲开始，这充分说明了乐队最初的精神：厌恶、社会批评、噪音、污秽、酸涩幽默和打破常态的意愿。Harmony Fault这个名字也有这个意思。它指的是打破和谐，破坏秩序，与被认为正常或者可受的事物决裂。一开始，这与我们的研磨/噪音建议非常匹配：肮脏、直接、激进的音乐，不考虑技术或商业标准。它处于原始状态的地下。从那以后，乐队发生了很大的变化。我们经历了不同的阶段，不同的阵容和不同的声音。我们从早期的Grind / Noise阶段进入了Death / Splatter阶段，后来巩固了我们今天的Grindcore / Death Metal乐队。但本质是一样的：友谊、噪音、恐怖、地下活动，以及在不追随潮流的情况下制作极端音乐的欲望。

First of all, we would like to thank you for the space, for your interest in Harmony Fault and for the opportunity to talk to the Chinese audience. It is a great honor for us to take part in this interview, especially because it is the band’s first interview for a Chinese publication. We send a special greeting to all music lovers, metal fans and underground supporters who keep the scene alive in China. We are very happy to know that our music has reached such distant places and to be able to share our work with people from different cultures and realities. Harmony Fault was formed in 2002 in the city of Lajeado, in Rio Grande do Sul, southern Brazil. Lajeado is located about 115 km from Porto Alegre, the capital of the state. It is an inland city, but it had a very active underground scene in the 1990s and 2000s. To give foreign readers some context, Lajeado and the Vale do Taquari region sadly became known in 2024 because of the huge floods that hit Rio Grande do Sul. Some of the strongest images from that tragedy came precisely from Lajeado and nearby cities, with destruction, dramatic rescues and entire communities affected. The band was born from a very simple and sincere desire: to make as much noise as possible. But it was also born from the friendship between the members. Besides being friends, we liked to hang out together, listen to music, have barbecues, drink beer, talk about bands and watch films. There was also a kind of nerdy side to this relationship, a constant curiosity to discover new things and exchange references. We were all fans of grindcore, noise, extreme death metal and noisy music in general, and there was a great pleasure in simply being among friends making that kind of sound. Before any bigger ambition, Harmony Fault came from that meeting point: friendship, noise, musical discovery, coexistence and the desire to be part of the underground. The original line-up came directly from the end of another band called Carkemis, which played a more grind/noise-oriented sound. In a way, Harmony Fault was born as a rupture from that previous moment. The band’s first demo, Pedaços de Carne Podre, already starts with a song called “Misantropia”, and that says a lot about the initial spirit of the band: disgust, social criticism, noise, filth, acid humor and the will to break normality. The name Harmony Fault also has that meaning. It refers to the breaking of harmony, a failure in order, a rupture with what is considered normal or acceptable. In the beginning, that matched very well with our grind/noise proposal: dirty, direct, aggressive music, made without concern for technical or commercial standards. It was underground in its raw state. Since then, the band has changed a lot. We went through different phases, different line-ups and different sounds. We moved from the early grind/noise phase to a death/splatter phase, and later consolidated ourselves as the goregrind/death metal band we are today. But the essence remains the same: friendship, noise, horror, underground and the desire to make extreme music without following trends.

V: 目前只有Calebe是第一代乐队的成员，所有其他成员都被替换了。乐队最初的成员为什么离开了乐队？新成员是如何加入的？你对他们的工作满意吗？新成员带来了什么新的创作灵感？

Today only Calebe is a member from the first generation of the band, and all the other members have been replaced. Why did the original members leave the band? How did the new members join? Are you satisfied with their work? What new creative inspiration did the new members bring?

C: 与许多持续很长时间的地下乐队一样，Harmony Fault经历了几次阵容变化。有些人离开是因为个人原因、家庭、距离、不同的优先事项，或者只是因为生活遵循了其他道路。我们从来不是一个商业意义上的专业乐队。我们一直是普通人，有工作、家庭、经济困难、城市之间的距离，以及试图维持极端地下乐队生存的所有正常问题。我Calebe，我是原阵容中唯一的成员。但这并不意味着乐队只属于我。Harmony Fault一直是通过友谊和每个成员在每个阶段的贡献共同建立的。Guilherme很早就加入了乐队，还处于最初几年，并成为Harmony Fault历史的重要组成部分。他是贝斯手、歌手，后来开始专注于声乐。他的加入使他与老牌的Grindcore的地下组织以及Vômito、Dead Infection、GUT、CBT、Lymphatic Phlegm等乐队建立了非常紧密的联系。他在磁带交易、信件、杂志和地下接触方面有着深厚的历史。在Marcelo离开后，Pulga于2009年正式加入，当时乐队正处于非常困难的时刻。当时，和Harmony Fault几乎结束了。Guilherme和我甚至作为二人组排练，没有吉他手，试图了解乐队是否会继续。然后我们邀请了Pulga，他已经是我们的老朋友了，已经知道乐队的氛围，并在某些情况下与我们一起演奏过。他的加入非常自然，并带来了Death Metal, Thrash, Rock和Roll的强烈影响。他的贡献对于巩固"Rotting Flesh Good Meal"和"Savage Horror Dementi"的声音至关重要。后来，在2018年，Monteiro加入了贝司乐队，并再次改变了乐队。有了他，Guilherme可以专注于声乐，乐队获得了更多的重量、更多的现场表演和更多的歌曲创作自由。目前与Guilherme，Pulga，Monteiro和Calebe的阵容非常强大，因为它汇集了友谊，经验和相互尊重。我们对这个阵容非常满意。我们不仅仅是音乐家，更是朋友。这就是让Harmony Fault存活了二十多年的原因。每个成员都带来了自己的影响和个性。这就是为什么乐队从未被时间冻结。它改变、分解、重建并继续。

As happens with many underground bands that last for a long time, Harmony Fault went through several line-up changes. Some people left because of personal reasons, family, distance, different priorities or simply because life followed other paths. We were never a professional band in a commercial sense. We have always been ordinary people, with jobs, families, financial difficulties, distance between cities and all the normal problems of trying to keep an extreme underground band alive. I, Calebe, am the only member from the original line-up. But that does not mean that the band belongs only to me. Harmony Fault has always been built collectively, through friendship and through the contribution of each member in each phase. Guilherme joined the band very early, still in the first years, and became a fundamental part of Harmony Fault’s history. He was the bassist, vocalist and later started to focus exclusively on vocals. His entrance brought a very strong connection with goregrind, the old underground, and bands such as Vômito, Dead Infection, GUT, CBT, Lymphatic Phlegm and many others. He has a deep history with tape trading, letters, zines and underground contacts. Pulga officially joined in 2009, after Marcelo left, at a very difficult moment for the band. At that time, Harmony Fault almost ended. Guilherme and I even rehearsed as a duo, without a guitarist, trying to understand if the band would continue. Then we invited Pulga, who was already a long-time friend, already knew the band’s atmosphere and had already played with us in some situations. His entrance happened very naturally and brought a strong influence of death metal, thrash, rock and roll and blues. His contribution was essential for the consolidation of the sound on Rotting Flesh Good Meal and Savage Horror Dementia. Later, in 2018, Monteiro joined on bass and transformed the band again. With him, Guilherme could dedicate himself exclusively to vocals, and the band gained more weight, more live presence and more freedom to work on the songs. The current line-up with Guilherme, Pulga, Monteiro and Calebe is very strong because it brings together friendship, experience and mutual respect. We are very satisfied with this line-up. More than musicians, we are friends. That is what has kept Harmony Fault alive for more than two decades. Each member brought his influences and personality. That is why the band never became frozen in time. It changed, decomposed, rebuilt itself and continued.

V: 你们是有丰富创作经验的音乐家，创作了许多经典作品。你能介绍一下乐队的创作过程吗？我相信你的经历可以激励年轻的音乐家。

You are musicians with a lot of creative experience and you have created many classic works. Can you introduce the band’s creative process? I believe your experience can inspire younger musicians.

C: 我们的创作过程一直是非常自然和集体的。我们不是一个在排练时一切都已经结束、写好和计算好的乐队。许多歌曲都是在排练室里诞生的，在声音检查期间，在调音乐器时，从鼓声或即兴重复段中，有人开始演奏而没有想太多。有时，有人会带来吉他、贝斯或鼓的想法，其他人会慢慢加入进来。声音开始时几乎像个笑话，然后逐渐成形，最后变成一首歌。其他时候，一个想法会出现在街道中央、工作场所、公交车上或家里。很多时候，我通过用嘴模仿鼓声或即兴重复段在手机上录制节拍：“tupa pa tupa，dã-dã”。然后我试着把它带到鼓上或展示给乐队。最有趣的是，我仍然保存了许多这些录音。也许有一天，它们会成为某种发行或特殊材料，展示一些歌曲是如何诞生的。Harmony Fault在当下的能量中一直发挥着很大的作用。我们并不为简单的想法感到羞愧。相反：很多时候，在Grindcore中起作用的正是直接的即兴重复段、强烈的节拍、腐烂的Groove、突然的变化和萦绕在你脑海中的重复。乐队从来不想在暴露的意义上成为技术性的。我们更喜欢能量、体重、污垢和个性。我们也从错误中吸取了很多教训。乐队的第一张唱片非常原始，有些是在有限的条件下现场录制的，几乎没有钱和经验。随着时间的推移，我们开始更好地理解我们想要的声音。第一首全长歌曲"Rotting Flesh"是一个里程碑，因为我们决定制作一个更明确、更仔细的录音。*野蛮恐怖痴呆症*已经展示了一个更成熟、更同质的乐队，更了解自己的声音。"Savage Horror Dementia"展现了一支更有经验、更重的乐队，主题更广泛。对于年轻的音乐家来说，我认为主要的教训是：用真理去做。不要等待理想的条件。从你所拥有的开始。记录、犯错、玩直播、旅行、建立联系、交换材料、认识人。技术很重要，但身份更重要。在地下，友谊、坚持和真诚比任何公式都更有价值。

Our composition process has always been very natural and collective. We are not a band that arrives at rehearsal with everything already closed, written and calculated. Many songs are born inside the rehearsal room itself, during a soundcheck, while tuning the instruments, from a drum beat or from a riff that someone starts playing without thinking too much. Sometimes someone brings a guitar, bass or drum idea and the others slowly join in. The sound starts almost like a joke, then it takes shape, and then it becomes a song. Other times, an idea appears in the middle of the street, at work, on the bus or at home. Many times I record a beat on my phone by imitating the drums or a riff with my mouth: “tupa-pa-tupa, dã-dã-dã”. Then I try to bring that to the drums or show it to the band. The funniest thing is that I still have many of these recordings saved. Maybe one day they will become some kind of release or special material showing how some songs were born. Harmony Fault has always worked a lot through the energy of the moment. We are not ashamed of simple ideas. On the contrary: many times what works in goregrind is exactly the direct riff, the strong beat, the rotten groove, the sudden change and the repetition that sticks in your head. The band never wanted to be technical in an exhibitionist sense. We prefer energy, weight, dirt and personality. We also learned a lot from our mistakes. The band’s first recordings were very raw, some recorded live, in limited conditions, with little money and little experience. Over time, we began to understand better how we wanted to sound. The first full-length, Rotting Flesh Good Meal, was a milestone because we decided to make a more definitive and careful recording. Savage Horror Dementia already showed a more mature, homogeneous band, more aware of its own sound. And Gore Beyond Blood shows a more experienced, heavier band, with broader themes. For young musicians, I think the main lesson is: do it with truth. Do not wait for ideal conditions. Start with what you have. Record, make mistakes, play live, travel, make contacts, exchange material, meet people. Technique is important, but identity is more important. In the underground, friendship, persistence and sincerity are worth more than any formula.

V: 你的每一张专辑都显示出重大的演变，这也与时代的变化有关。多年来，录音设备不断改进，如今有了更好的录音环境。你在哪些录音室录制了这些专辑？哪些制作人录制了这些专辑？

Each album of yours shows significant evolution, something also related to the change of times. Over the years, recording equipment has improved and today there is a better environment for recording. In which studios did you record the albums? Which producers recorded the albums?

C: 我们录音的演变遵循了乐队本身的演变。起初，一切都很简单。2002年的Demo“Pedaços de Carne Podre”是现场录制的，基本上是以“take one”风格，资源很少。这就是我们当时所拥有的。声音是原始的、肮脏的、直接的，但它很好地代表了乐队的Grind / Noise阶段。多年来，我们学会了如何更好地与工作室打交道。*Sangue e Vísceras*，从2004年开始，已经是我们第一次体验更专业的录音，阵容更大，声音更接近Death / Splatter。2005年发布的“Neoplasm Disseminator”和“Premature Autopsy”的三方分割也非常重要，因为这是我们第一次觉得我们正在记录一些会更广泛传播的东西，包括巴西以外的地方。2011年发行的“Rotting Flesh”于2010年至2011年间录制。那张专辑对我们来说是一个非常重要的项目，因为这是我们作为乐队近十年后的第一张完整专辑。录音在乐队家乡拉杰多的贝托体育场进行。从晚上10点到早上6点，这是一场紧张的演出。一个奇怪的细节是，乐队在录制过程中的任何时候都没有使用节拍器。我们希望尽可能地保留歌曲的自然能量和真实动态。稍后，在单独的环节中录制了人声。伊斯梅尔·福帕在这一过程中发挥了重要作用，帮助我们获得了我们想要的重量、污垢和清晰度。我们的录音方法一直试图保持现场的活力。我在听吉他和贝斯演奏的同时录制了鼓，这样音乐就不会失去感觉。即使后来有过多的修饰和调整，我们的想法也是为了保持乐队的有机精神。Grindcore的声音不能太塑料化。它需要泥土、压力和排练的味道。2014年的“Savage Horror Dementia”也有同样的逻辑记录。这是一个更集中的过程，但仍然很激烈。在一个晚上，我们从晚上10点到早上6点录制了大部分材料。在当时最热的时候，一些歌曲仍然在录音室里形成。这张专辑还带来了我们的第一个音乐视频，歌曲“Savage Horror Dementia”，可以在我们的YouTube频道上找到。这很有趣，因为它让专辑保持了活力、自发和侵略性。"Gore Beyond Blood"受益于更有经验的乐队和更成熟的生产条件。这也是我们第一次在整个过程中使用节拍器进行记录，这在不损害Harmony Fault特有的能量和侵略性的情况下带来了更高的精度。录音是在飓风工作室进行的，这也是我们第一次与这位制作人和技术人员合作。虽然这是我们的第一次合作，但结果非常积极，因为他很快理解了我们想要的声音，在重量、清晰度和污垢之间找到了良好的平衡。该地区的几个重要乐队也在那里录制了唱片，包括传奇的Vômito，他在同一个工作室录制了他们最近的作品，这进一步加强了那里所做作品的质量和相关性。自2002年以来，技术发生了很大变化。今天，我们可以更好地记录、编辑和推广。但我们的担忧仍然是一样的：录音需要听起来像Harmony Fault。我们不希望制作过于干净，以至于失去乐队的身份。

The evolution of our recordings followed the evolution of the band itself. In the beginning, everything was very simple. The demo Pedaços de Carne Podre, from 2002, was recorded live, basically in a “take one” style, with very few resources. That was what we had at that time. The sound was raw, dirty and direct, but it represented very well that grind/noise phase of the band. Over the years, we learned how to deal better with the studio. Sangue e Vísceras, from 2004, was already our first experience with a more professional recording, with a bigger line-up and a sound closer to death/splatter. The 3-way split with Neoplasm Disseminator and Premature Autopsy, released in 2005, was also very important, because it was the first time we felt we were recording something that would circulate more widely, including outside Brazil. Rotting Flesh Good Meal, released in 2011, was recorded between 2010 and 2011. That album was a very important project for us, because it was our first full-length after almost ten years as a band. The recording took place at Estúdio do Beto, in Lajeado, the band’s hometown. It was an intense session during the night, from 10 p.m. to 6 a.m. A curious detail is that the band did not use a metronome at any point during the recording. We wanted to preserve the natural energy and real dynamics of the songs as much as possible. The vocals were recorded later, in a separate session. Ismael Foppa had an important role in this process, helping to capture the weight, dirt and clarity that we wanted. Our recording method has always tried to preserve live energy. I recorded the drums while listening to the guitar and bass being played, so the music would not lose its feeling. Even when there were overdubs and adjustments later, the idea was to keep the band’s organic spirit. Goregrind cannot sound too plastic. It needs dirt, pressure and the smell of rehearsal. Savage Horror Dementia, from 2014, was also recorded with this same logic. It was a more focused process, but still intense. In one night, we recorded a large part of the material, from 10 p.m. to 6 a.m. Some songs still took shape inside the studio, in the heat of the moment. From this album also came our first music video, for the song “Savage Horror Dementia”, which is available on our YouTube channel. This was very interesting because it kept the album alive, spontaneous and aggressive. Gore Beyond Blood benefited from a more experienced band and more mature production conditions. It was also the first time we recorded using a metronome throughout the entire process, which brought more precision without compromising the energy and aggression that are characteristic of Harmony Fault. The recordings took place at Hurricane Studio, and it was also the first time we worked with that producer and technician. Although it was our first partnership, the result was very positive because he quickly understood the kind of sound we were looking for, finding a good balance between weight, clarity and dirt. Several important bands from the region have also recorded there, including the legendary Vômito, who recorded their more recent works in the same studio, which reinforces even more the quality and relevance of the work done there. Technology has changed a lot since 2002. Today it is possible to record better, edit better and promote better. But our concern remains the same: the recording needs to sound like Harmony Fault. We do not want a production that is too clean to the point of removing the band’s identity.

V: 食人、血腥、战争、恐怖、环境问题：这些都是你音乐中的主题。你为什么选择这些主题？你想通过它们表达什么？谁创作了歌词，灵感从哪里来？

Cannibalism, gore, war, horror, environmental issues: these are themes in your music. Why did you choose these themes? What do you want to express through them? Who creates the lyrics and where does the inspiration come from?

C: Harmony Fault一直与恐怖、污秽、死亡、极端电影和该死的文学有着密切的联系。起初，也有强烈的社会批判、厌世和对人类状况的厌恶。随着时间的推移，我们深化和扩展了这些主题。多年来，乐队与血腥、泼墨和恐怖电影有着密切的联系。这是我们身份的一部分。我们受到意大利和日本恐怖电影、僵尸电影、Zédo Caixão、Lucio Fulci、George Romero、Edgar Allan Poe的文学、Bukowski和许多其他越轨元素的影响。对我们来说，恐怖一直是一种艺术形式，是看待世界的一个镜头。但Harmony Fault从来不是为了血腥而血腥。即使在最腐败的阶段，也有幽默、讽刺、社会批判和对人类堕落的兴趣。专辑"Gore Beyond Blood"使这一点更加明确。标题的意思正是：血腥之外的血腥。暴力不仅存在于电影中。战争、环境灾难、疫情、政治冷漠、自然破坏、人类剥削和社会衰败也是如此。歌曲的创意通常来自我们之间的对话、电影、阅读、历史事实、政治事件和个人经历。我Calebe，通常在概念、文本和主题上做了很多工作，但整个乐队都贡献了想法、氛围和参考。同样重要的是，这些年来，我们作为人发生了变化。如今，现有阵容中约有四分之三的人有儿子和女儿，这自然有助于改变我们的世界观。随着时间的推移，生活经历和所承担的责任影响了我们对音乐、艺术和和谐断层主题的思考方式。在乐队的某个阶段，受恐怖电影、剥削、经典血腥场面和20世纪90年代和21世纪初地下极端视觉语言的影响，我们使用了今天我们更批判性地看待的图像，尤其是当它们涉及到女性身体的性化和暴露时。这是乐队美学和历史阶段的一部分，但今天我们更加谨慎地看待它。我们不想抹去我们的历史，但我们也不需要以同样的方式重复一切。与此同时，Harmony Fault从来不是一个局限于这种方法的乐队。从一开始，社会和政治批评就有一个方面：对战争、人类暴力、贫困、社会退化、自然破坏和人类状况本身的批评。即使在更多的血腥或飞溅阶段，也有人试图将恐怖视为现实世界的反映，而不仅仅是视觉冲击。我们从未打算美化真正的暴力。我们的想法一直是使用恐怖、夸张、越轨和病态幽默，将人类分解作为一种修辞手法。在内心深处，每个人都会腐烂，每个有机生命都会结束，没有人能逃脱。这一形象也一直是对人类傲慢的批判：金钱、权力、社会地位或任何形式的优越感在死亡和物质分解之前就消失了。这种更具反思性的一面从早期就存在。例如，在2005年的3-way split中，我们有一首歌"Solidão, Agonia e Morte"，灵感来自弗里德里希·尼采传记的一部分，表明乐队也关注哲学和存在主义主题。在同一时期，我们还讨论了医疗疏忽问题，这表明人们对人类痛苦、机构暴力和社会批评的真实情况感到关切。因此，即使在美学更加血腥、泼墨或极端的情况下，和谐断层也从来不是唯一的视觉冲击。人们总是关注人类的状况、矛盾和衰败。最近的一个重要例子是"Gore Beyond Blood"中的歌曲"Vômito"。这是对Passo Fundo/RS乐队Vômito的直接致敬，他们对我们和一个友好的乐队产生了非常重要的影响，尤其是通过Leo Manhães。但这首歌不仅仅是关于Vômito乐队的。这也是对磁带交易、信件、磁带、杂志、CD和材料交换的致敬，这些构成了我们成长的地下世界。这首歌的歌词是根据Vômito自己的歌曲标题构建的。因此，它成为了一种双重致敬：对乐队和地下的物质、情感和地下文化。在"Gore Beyond Blood"中，这种扩张变得更加明显。恐怖不仅出现在身体、血液或图形冲击中。它也存在于战争、疫情、环境灾难、政治冷漠、社会暴力和日常暴行中。对我们来说，这张专辑展示了一个和谐断层，它更了解自己的主题，但仍然极端、沉重、肮脏，忠于地下。

Harmony Fault has always had a strong relationship with horror, filth, death, extreme cinema and damned literature. In the beginning, there was also a strong element of social criticism, misanthropy and disgust toward the human condition. Over time, we deepened and expanded these themes. For many years, the band was strongly associated with gore, splatter and horror cinema. That is part of our identity. We are influenced by Italian and Japanese horror films, zombie cinema, Zé do Caixão, Lucio Fulci, George Romero, the literature of Edgar Allan Poe, Bukowski and many other transgressive elements. For us, horror has always been a form of art, a lens through which to look at the world. But Harmony Fault was never just gore for the sake of gore. Even in the most rotten phases, there was humor, irony, social criticism and an interest in human degradation. The album *Gore Beyond Blood* makes this more explicit. The title means exactly that: gore beyond blood. Violence is not only in the open flesh of films. It is also in wars, environmental disasters, the pandemic, political indifference, the destruction of nature, human exploitation and social decay. The ideas for the songs usually come from conversations between us, films, readings, historical facts, political events and personal experiences. I, Calebe, usually work a lot on the concepts, texts and themes, but the whole band contributes with ideas, atmospheres and references. It is also important to say that, over all these years, we have changed as people. Today, about three quarters of the current line-up have sons and daughters, and this naturally helped to transform our worldview. Life experiences and the responsibilities acquired over time influenced the way we think about music, art and the themes we approach within Harmony Fault. At a certain phase of the band, influenced by horror cinema, exploitation, classic goregrind and the extreme visual language of the underground from the 1990s and 2000s, we used images that today we look at more critically, especially when they involved sexualization and exposure of the female body. That was part of an aesthetic and historical phase of the band, but today we look at it with more care. We do not want to erase our history, but we also do not need to repeat everything in the same way. At the same time, Harmony Fault was never a band limited to that kind of approach. From the beginning, there has always been a side of social and political criticism: criticism of war, human violence, poverty, social degradation, the destruction of nature and the human condition itself. Even in more gore or splatter phases, there was an attempt to look at horror as a reflection of the real world, and not only as visual shock. We never intended to glorify real violence. Our idea has always been to work with horror, exaggeration, transgression and morbid humor, using human decomposition as a figure of speech. Deep down, every body rots, every organic life ends, and nobody escapes that. This image has always also served as a criticism of human arrogance: money, power, social status or any form of superiority disappear before death and decomposing matter. This more reflective side existed from early on. On the 2005 3-way split, for example, we had the song “Solidão, Agonia e Morte” (“Loneliness, Agony and Death”), inspired by part of Friedrich Nietzsche’s biography, showing that the band also looked at philosophical and existential themes. During the same period, we also addressed medical negligence, which shows that there was a concern with real situations of human suffering, institutional violence and social criticism. So, even when the aesthetic was more gore, splatter or extreme, Harmony Fault was never only visual shock. There was always also a look at the human condition, its contradictions and its decay. A more recent important example is the song “Vômito”, from *Gore Beyond Blood*. It is a direct tribute to the band Vômito, from Passo Fundo/RS, a very important influence for us and a friendly band, especially through Leo Manhães. But the song is not only about the band Vômito. It is also a tribute to tape trading, letters, the exchange of tapes, zines, CDs and materials that formed the underground in which we grew up. The text of the song is built from titles of songs by Vômito themselves. So it becomes a double tribute: to the band and to the physical, emotional and subterranean culture of the underground. In *Gore Beyond Blood*, this expansion becomes more evident. Horror does not appear only in the body, in blood or in graphic shock. It is also in war, in the pandemic, in environmental disasters, in political indifference, in social violence and in everyday brutality. For us, this album shows a Harmony Fault that is more aware of its own themes, but still extreme, heavy, dirty and faithful to the underground.

V: 在2017年发行Spilt后，乐队六年没有发行新作品，直到2023年才发布了新专辑。为什么这么多年没有发布新作品？

After releasing a split in 2017, the band did not release new works for six years, until 2023. What was the reason for so many years without releasing new material?

C: 发布之间的间隔有几个原因。首先，Harmony Fault一直是一个地下乐队，由在不同城市工作、有家庭、有承诺和生活的人组成。这总是使排练、录音和计划变得更加困难。很长一段时间，我们排练得很少，有时一个月只排练一两次。这使得任何过程都变慢了。在2017年发行Dead Fetus Collection的"Alcohol，Horror and Cannibalistic Torture"Spilt后，乐队继续存在，排练和作曲，但一切都进展缓慢。Monteiro的加入也改变了乐队的动态，现在是一个四重奏，Guilherme只专注于声乐。这是一个积极的变化，但也需要适应。另一个非常重要的因素是疫情。疫情中断了排练、演出、录制计划，影响了我们所有人。这是一段与世隔绝、身心痛苦、损失和不确定的时期。在巴西，疫情尤为严重，有70多万人死亡，政治环境非常残酷，人们的痛苦往往受到蔑视。在地下，我们也失去了重要的人，比如传奇乐队Rot的贝斯手Alex“Bucho”，他于2021年死于新冠肺炎。所以这段时间不仅仅是创造性的沉默。这是一个充满后勤困难、内部变化和疫情影响的时期。“Gore Beyond Blood”也是在这种背景下诞生的。这张专辑承载着那些年的重量，但也表明乐队还活着。

The interval between releases happened for several reasons. First, Harmony Fault has always been an underground band, made by people who work, have families, commitments and live in different cities. This has always made rehearsals, recordings and planning more difficult. For a long time, we rehearsed very little, sometimes only once or twice a month. That makes any process slower. After the split Alcohol, Horror and Cannibalistic Torture, with Dead Fetus Collection, released in 2017, the band continued to exist, rehearse and compose, but everything happened slowly. Monteiro’s entrance also changed the band’s dynamics, now as a quartet, with Guilherme dedicated only to vocals. It was a positive change, but it also required adaptation. Another very important factor was the pandemic. The pandemic interrupted rehearsals, shows, recording plans and affected all of us personally. It was a period of isolation, physical and mental suffering, losses and uncertainty. In Brazil, the pandemic was particularly harsh, with more than 700,000 dead and a very cruel political context, in which people’s pain was often treated with contempt. In the underground we also lost important people, such as Alex “Bucho”, bassist of the legendary band Rot, who died from Covid in 2021. So this interval was not simply creative silence. It was a period crossed by logistical difficulties, internal changes and the impact of the pandemic. Gore Beyond Blood was also born from this context. It is an album that carries the weight of those years, but also shows that the band remained alive.

V: 你与许多唱片公司合作发行了专辑，其中大部分来自巴西。你是如何与这些标签建立联系的？你对这些唱片公司的工作满意吗？

You have collaborated with many labels to release albums, most of them from Brazil. How did you establish contact with these labels? Are you satisfied with the work of these record labels?

C: 我们与唱片公司的关系始终建立在友谊、地下接触和信任的基础上。这从来不是一段冷冰冰的商业关系。在地下，很多事情的发生都是因为人们互相认识、交换材料、互相写信、互相帮助和相信声音。Rotten Foetus Records中的Diomar从一开始就是一个非常重要的人物。他一直支持Harmony Fault，无论是发布材料、帮助联系、提供建议还是推广乐队。Rotten Foetus参与了一些基本的时刻，比如与"Neoplasm Disseminator"和"Premature Autops"，以及后来的“Rotting Flesh Good Meal”。"Rotting Flesh Good Meal"由三个唱片公司发行：Rotten Foetus Records, Cauterized Productions和iolent Records。来自Caurized Productions / Cianeto Discos的Gil和巴西传奇金属乐队Vulcano的主唱、Violent Records的负责人Luiz Carlos是这次发行中非常重要的合作伙伴。这项联合工作对推广有很大帮助，因为每个标签都有自己的联系人、受众和自己的传播方式。这是友谊、诚实、伙伴关系和地下态度的混合体。

"Savage Horror Dementia"通过Terceiro Mundo Chaos出现，得到了Alexandre Casalunga的根本支持。如果没有这种帮助，那张专辑可能不会在那一刻发行。我记得我给Lymphatic Phlegm的André Luiz发了一条信息，说这张专辑几乎已经准备好了，但没有厂牌。他尝试了一些接触，不久后Casalunga似乎有兴趣发布它。这对我们来说非常重要。我们还与德国品牌Uterus Productions发行的Dead Fetus Collection进行了7英寸的Spilt。对于一支巴西地下乐队来说，通过欧洲唱片公司发行一张黑胶唱片是一件非常特别的事情。我们对这些伙伴关系感到满意和感激。当然，每个版本都有其局限性，但所有这些标签都是Harmony Fault历史的一部分。如果没有他们，我们的大部分材料可能不会像现在这样传播。

Our relationship with labels has always been based on friendship, underground contact and trust. It was never a cold commercial relationship. In the underground, many things happen because people know each other, exchange material, write to each other, help each other and believe in the sound. Diomar, from Rotten Foetus Records, was a very important figure from the beginning. He always supported Harmony Fault, whether by releasing material, helping with contacts, giving advice or promoting the band. Rotten Foetus took part in fundamental moments, such as the 3-way split with Neoplasm Disseminator and Premature Autopsy, and later Rotting Flesh Good Meal. Rotting Flesh Good Meal was released by three labels: Rotten Foetus Records, Cauterized Productions and Violent Records. Gil, from Cauterized Productions/Cianeto Discos, and Luiz Carlos, vocalist of the legendary Brazilian metal band Vulcano and responsible for Violent Records, were very important partners in this release. This joint work helped a lot with promotion because each label had its contacts, its audience and its own way of circulating material. It was a mixture of friendship, honesty, partnership and underground attitude. Savage Horror Dementia came out through Terceiro Mundo Chaos, with fundamental support from Alexandre Casalunga. That album might not have come out at that moment if it had not been for this help. I remember sending a message to André Luiz, from Lymphatic Phlegm, saying that the album was practically ready but had no label. He tried some contacts and soon after Casalunga appeared interested in releasing it. That was very important for us. We also had the 7” split with Dead Fetus Collection released by the German label Uterus Productions. For a Brazilian underground band, releasing a vinyl EP through a European label was something very special. We are satisfied and grateful for these partnerships. Of course, every release has its limitations, but all these labels are part of Harmony Fault’s history. Without them, much of our material might not have circulated the way it did.

V: 乐队的标志很简单，但非常引人注目，很容易记住你的名字。谁设计了这个标志？你的作品也很符合乐队的风格。这些艺术品是谁创作的？

The band’s logo is simple but very striking, and it is easy to remember your name. Who designed the logo? Your artworks also match the band’s style very well. Who created these artworks?

C: Harmony Fault的标志在其历史上只经历了几次修改。它并没有一直改变。事实上，我们在2002年就有了一个最初的想法，在2008年左右进行了一次重要的修改，然后是最近的更新，可能是在2017年左右。有趣的是，这些变化从未打破之前的身份。每一个新版本都尊重了最初的想法，但将视觉识别适应了乐队生活的时刻。对我们来说，标志一直遵循和谐断层的重要阶段。当阵容、声音或创意方向发生重大变化时，标志也会进行调整。所以它不仅仅是一个图形标记。它可以作为乐队阶段的视觉记录。2002年的第一个标志具有更原始和混乱的美学，与演示*Pedaços de Carne Podre*的早期Grindcore / Noise阶段相匹配。这与当时的地下活动有着密切的联系：杂志、影印传单、演示磁带、信件和完全DIY的材料。大约在2008年，当乐队开始更加清晰地巩固自己时，随着音高的转变和声音的更加清晰，我们采用了新版本的标志。这个标志是我Calebe根据铅笔素描创作的。乐队喜欢这个想法，并最终采用了它。它被用于专辑"Rotting Flesh Good Meal"和"Savage Horror Dementia"中，因此它成为了与Harmony Fault经典阶段最相关的标志。后来，在2017年左右，该标志进行了新的更新，保持了前一版本的精髓，但具有更好的可读性和更强的视觉冲击力。这个较新的版本在衬衫、帽子、YouTube、Bandcamp、横幅和数字推广等当前材料上效果更好。这个想法从来不是为了软化乐队，而是为了让标志更适用、更令人难忘。至于封面和艺术品，它们对我们来说一直非常重要。“Rotting Flesh Good Meal”的封面是由Pulga的朋友Carlos Augusto Porto创作的。这个想法是稍微远离传统的血腥照片，创造一个有病态幽默、僵尸和一个服务员提供腐烂肉类的绘画场景。这件艺术品与我们对僵尸电影的热爱对话，尤其是George Romero，也展示了乐队讽刺的一面。在“Savage Horror Dementia”中，我们再次寻找了一件与恐怖、疯狂和污秽有关的艺术品。在"Gore Beyond Blood"中，视觉方案遵循了专辑的主题演变：不仅是明确的血腥场面，还有更广泛的破坏、战争、灾难、社会解体和血腥之外的恐怖。对我们来说，视觉方面从来不仅仅是装饰。标志、封面和传单是音乐的延伸，与唱片一样，有助于讲述和谐断层的故事。

Harmony Fault’s logo went through only a few modifications throughout its history. It did not change all the time. In fact, we had an original idea in 2002, an important modification around 2008 and then a more recent update, probably around 2017. The interesting thing is that these changes never broke with the previous identity. Each new version respected the original idea, but adapted the visual identity to the moment the band was living. For us, the logo has always followed important phases of Harmony Fault. When there was a major change in line-up, sound or creative direction, the logo also ended up being adjusted. So it is not just a graphic mark. It works as a visual record of the band’s phases. The first logo, from 2002, had a more raw and chaotic aesthetic, matching the early grind/noise phase of the demo Pedaços de Carne Podre. It was something very connected to the underground of that time: zines, photocopied flyers, demo tapes, letters and totally DIY material. Around 2008, when the band started to consolidate itself more clearly as goregrind, with pitch-shifted vocals and a more defined sound, we adopted a new version of the logo. This logo was created by me, Calebe, from a pencil sketch. The band liked the idea and ended up adopting it. It was used on the albums Rotting Flesh Good Meal and Savage Horror Dementia, so it became the logo most associated with the classic phase of Harmony Fault. Later, around 2017, the logo received a new update, maintaining the essence of the previous version, but with better readability and stronger visual impact. This more recent version works better on current materials such as shirts, caps, YouTube, Bandcamp, banners and digital promotion. The idea was never to soften the band, but to make the logo more applicable and memorable. As for the covers and artworks, they have always been very important to us. The cover of Rotting Flesh Good Meal was created by Carlos Augusto Porto, a friend of Pulga. The idea was to move a little away from the traditional gore photo and create a drawn scene, with morbid humor, zombies and a waitress serving rotten meat. The artwork dialogues with our love for zombie films, especially George Romero, and also shows the band’s sarcastic side. On Savage Horror Dementia, we again looked for an artwork connected to horror, insanity and filth. On Gore Beyond Blood, the visual proposal follows the thematic evolution of the album: not only explicit gore, but a broader idea of destruction, war, disaster, social decomposition and horror beyond blood. For us, the visual side was never just decoration. Logos, covers and flyers are extensions of the music and help tell the story of Harmony Fault as much as the records do.

V: 恭喜2024年的新专辑。你制作了一张Grindcore的、沉重的Death Metal专辑，有时让我想起了Impaled、Regrgitate和Impetigo等乐队。这张专辑有很多中速部分，有快速的爆发。最大的特点似乎是营造出一种可怕的氛围，类似于Impetigo，带有Agathocles等老派的影响。你对这项工作有什么看法？新专辑和旧专辑之间有变化吗？

Congratulations on the new 2024 album. You made a bloody grindcore, heavy death metal album, sometimes reminding me of bands like Impaled, Regurgitate and Impetigo. The album has many mid-tempo parts, with fast explosions. The biggest characteristic seems to be creating a terrifying atmosphere, similar to Impetigo, with old school influences like Agathocles. What is your opinion about this work? Are there changes between the new album and the old ones?

C: 非常感谢你的话。我们对这篇文章感到满意，因为它注意到了"Gore Beyond Blood"中的一些重要内容。这张专辑沉重、肮脏、极端，但它不仅仅是关于速度。Harmony Fault从来都不是一支一直演奏得很快的乐队。我们总是喜欢节奏感、中速重复段、有节奏的部分、突然的变化和音乐营造出更病态氛围的时刻。你提到的影响是有道理的。Impetigo, Regurgitate, Agathocles和其他经典条带是我们DNA的一部分。我们还受到了欧洲Grindcore、20世纪90年代Death Metal、Grindcore、Splatter和巴西乐队如Sarcastic、Rotting Flesh和Gore的影响。我们真的很喜欢Dead Infection和Gut这样的乐队，他们帮助塑造了我们对血腥场面的看法。除此之外，我们还听了很多Death Metal乐队，如Gorefest和Pungent Stench，他们也在我们思考体重、节奏和构图的方式上留下了印记。但在"Gore Beyond Blood"中，我认为我们成功地将这些影响转化为我们自己的东西。这张专辑与前几张专辑的主要区别在于主题和音乐广度。"Rotting Flesh Good Meal"是巩固专辑。经过多年的Demo、Spilt和阵容变化，它将Harmony Fault展示为一个更具定义的Grindcore乐队。“Savage Horror Dementia”是一张更同质、更专注、更直接的专辑，阵容已经更加成熟。"Gore Beyond Blood"是一张超越传统Grindcore的专辑。标题很好地概括了这一点：血腥之外的血腥。这张专辑讲述了战争、破坏、疫情、环境灾难、蛇、恐怖、地下记忆和人类恶化。它仍然有血腥，仍然有幽默，仍然有肮脏，但它也有更广泛的反思层。在音乐方面，我们也感受到了一种进化。有更发达的即兴重复段，更多的重量，更多的Groove，一些旋律和独奏，以前在乐队中没有出现过。我们听到的影响也以某种方式进入：Dismember, Benediction, Pungent Stench, Vomitory, Gorefest, Bolt Thrower和其他具有重量和身份的Death Metal乐队。我们没有成为传统的Death Metal乐队，但这些元素扩展了我们的声音。视角也发生了变化。今天，我们可以用更多的批判和成熟来看待我们自己的历史。一些旧的视觉和主题选择属于乐队的特定阶段，也属于20世纪90年代和21世纪初的极端地下环境。今天，我们更喜欢将恐怖扩展到图形冲击之外。恐怖仍然存在，但它也反映了战争、人性、环境破坏、不平等、权力和死亡。对我们来说，"Gore Beyond Blood"是一张成熟的专辑。不是说变得驯服，而是更好地理解我们是谁，我们想表达什么。

Thank you very much for your words. We are happy with this reading because it notices something important in Gore Beyond Blood. This album is heavy, dirty and extreme, but it is not only about speed. Harmony Fault was never just a band that plays fast all the time. We always liked groove, mid-tempo riffs, cadenced parts, sudden changes and moments where the music creates a more sick atmosphere. The influences you mentioned make sense. Impetigo, Regurgitate, Agathocles and other classic bands are part of our DNA. We also have influences from European goregrind, 1990s death metal, grindcore, splatter and Brazilian bands such as Sarcastic, Rotting Flesh and Gore. We really like bands such as Dead Infection and Gut, who helped shape our vision of goregrind. Besides that, we listen a lot to death metal bands such as Gorefest and Pungent Stench, who also left their mark on the way we think about weight, groove and composition. But on Gore Beyond Blood, I think we managed to transform these influences into something of our own. The main difference between this album and the previous ones is the thematic and musical breadth. Rotting Flesh Good Meal was the consolidation album. After years of demos, splits and line-up changes, it showed Harmony Fault as a more defined goregrind band. Savage Horror Dementia was a more homogeneous, more focused, more direct album, with the line-up already more mature. Gore Beyond Blood is an album that looks beyond traditional gore. The title sums it up well: gore beyond blood. The album talks about war, destruction, pandemic, environmental disaster, snakes, horror, underground memory and human deterioration. It still has gore, it still has humor, it still has filth, but it also has a broader layer of reflection. Musically, we also feel an evolution. There are more developed riffs, more weight, more groove, some melodies and solos that did not appear so much in the band before. The influences we were listening to also entered in some way: Dismember, Benediction, Pungent Stench, Vomitory, Gorefest, Bolt Thrower and other death metal bands with weight and identity. We did not become a traditional death metal band, but these elements expanded our sound. There is also a change in perspective. Today we can look at our own history with more criticism and maturity. Some old visual and thematic choices belong to a specific phase of the band and to the context of the extreme underground of the 1990s and 2000s. Today we prefer to expand horror beyond graphic shock. Horror is still there, but it also appears as a reflection on war, human nature, environmental destruction, inequality, power and death. For us, Gore Beyond Blood is an album of maturity. Not in the sense of becoming tame, but in the sense of understanding better who we are and what we want to express.

V: 作为一个老乐队，你参加了许多现场表演。哪些节目给你留下了最深刻的印象？你能描述一下那些时刻的气氛吗？我看到你在2025年发行了两张现场专辑。它们是你参加的两场演出的录音吗？

As an old band, you have taken part in many live performances. Which shows marked you the most? Can you describe the atmosphere of those moments? I saw that you released two live albums in 2025. Are they recordings of two performances you participated in?

C: 在我们的历史上，我们有很多重要的演出，尽管我们不是一个一直在现场演出的乐队。有些节目以结构为特征，有些以混乱为特征，还有一些以我们同台演出的乐队为特征，而另一些则仅仅以观众的能量为特征。早期最引人注目的展览之一是2005年在Florianópolis的Goregrinder Festival上，展出了Stoma、Ovários和Dead Fetus Collection。对我们来说，作为一个五人乐队，这是一场非常精彩的表演。这次旅行很累，公共汽车坏了，但当我们到达时，我们发现了一个我们钦佩的优秀结构和乐队。这是一个有助于塑造乐队身份的夜晚。另一个重要时刻是2007年在茹安维尔与Agathocles一起演出。Agathocles是世界范围内Grind / Mincecore历史上最重要的乐队之一，因此与他们同台演出对我们来说意义重大。我们还与Pulmonary Fibrosis, Stoma, Dead Infection等乐队以及许多重要的巴西乐队合作，如Flesh Grinder, Rot, MDK, Premature Autopsy, Ovários, Offal等。另一个非常特别的时刻是2012年里约热内卢Dead Infection的首次演出。Dead Infection一直是全球Grindcore中最重要的乐队之一，对我们产生了重大影响，因此与他们分享那晚是一次非凡的经历。我们还有机会在2018年为Gutalax开场，这是国际Grindcore中另一个非常知名的名字。这些演出之所以重要，不仅是因为知名度，还因为有机会与我们钦佩的乐队分享舞台，这有助于塑造我们对极端金属的看法。Guilherme使用的面具也极大地改变了乐队的现场表演。大约在2022/2023年，他开始使用一个简单的口罩，上面沾满了人造血液——实际上，我们使用食用色素——有眼睛和嘴巴的开口。这看起来很简单，但它为和谐断层的当前阶段赋予了一个非常强烈的面貌。这种对比很有趣，因为在台下，Guilherme是一个又高又瘦的家伙，戴着眼镜，外表非常平静，几乎像一个老师。但当他戴上口罩时，他的姿势完全改变了。他变成了一个令人不安、肮脏、奇怪和非常激烈的人物。这与乐队目前的声音非常契合，并在最近的演出中帮助创造了更强烈的视觉形象。它不仅仅是一个配件。面具最终成为了Harmony Fault现场氛围的一部分：介于恐怖、肮脏、地下剧场和受控的疯狂之间。对我们来说，这强化了这样一种观点，即节目不仅仅是播放歌曲。这也是为了创造一个形象、一种感觉和一种与乐队声音有意义的氛围。关于2025年发布的现场录音，它们是乐队最近组织、恢复和提供我们档案的努力的一部分。这些材料在Bandcamp上发布，代表了我们历史上的重要时刻。其中之一正是2002年上演的第一场Harmony Fault演出，最初录制在盒式磁带上，经过多年的储存后最近才恢复。我们有很多关于DVD、磁带、排练录音、完整节目和视频的旧材料，这些材料已经存档了几十年，我们的想法是一点一点地保存和分享这些记忆。这些现场发布是乐队特定时刻的记录，有助于展示Harmony Fault在不同阶段在舞台上的声音。对我们来说，这不仅是推广，也是历史保护。地下乐队也需要照顾好自己的记忆。

We had many important shows throughout our history, even though we are not a band that plays live all the time. Some shows were marked by the structure, others by the chaos, others by the bands we shared the stage with, and others simply by the energy of the audience. One of the most remarkable shows from the early phase was in 2005, at Goregrinder Festival, in Florianópolis, with Stoma, Ovários and Dead Fetus Collection. For us, it was a very strong performance as a five-piece band. The trip was exhausting, the bus broke down, but when we arrived, we found an excellent structure and bands we admired. It was one of those nights that help shape a band’s identity. Another fundamental moment was playing with Agathocles, in Joinville, in 2007. Agathocles is one of the most important bands in the history of grind/mincecore worldwide, so sharing the stage with them had huge meaning for us. We also played with bands such as Pulmonary Fibrosis, Stoma, Dead Infection and many important Brazilian bands such as Flesh Grinder, Rot, MDK, Premature Autopsy, Ovários, Offal, among others. Another very special moment was opening for Dead Infection in Rio de Janeiro, in 2012. Dead Infection has always been one of the most important bands in worldwide goregrind and a major influence for us, so sharing that night with them was a remarkable experience. We also had the opportunity to open for Gutalax in 2018, another very well-known name in the international goregrind scene. These shows were important not only because of visibility, but also because of the chance to share the stage with bands we admire and that helped shape our vision of extreme metal. A visual element that also changed the band’s live presence a lot was the mask used by Guilherme. Around 2022/2023, he started using a simple mask, dirty with artificial blood — actually, we use food coloring — with openings for the eyes and mouth. It seems like something simple, but it gave a very strong face to the current phase of Harmony Fault. The contrast is interesting because, off stage, Guilherme is a tall, thin guy, wears glasses and has a very calm appearance, almost like a teacher. But when he puts on the mask, his posture changes completely. He becomes a disturbing, dirty, strange and very intense figure. This fits very well with the current sound of the band and helped create a stronger visual identity in recent shows. It is not just an accessory. The mask ended up becoming part of Harmony Fault’s live atmosphere: something between horror, dirt, underground theater and controlled insanity. For us, this reinforces the idea that a show is not only about playing the songs. It is also about creating an image, a sensation and an atmosphere that make sense with the band’s sound. About the live recordings released in 2025, they are part of a recent effort by the band to organize, recover and make our archive available. These materials were released on Bandcamp and represent important moments in our history. One of them is precisely the first Harmony Fault show, performed in 2002, originally recorded on cassette tape and recently recovered after many years in storage. We have a lot of old material on DVDs, tapes, rehearsal recordings, full shows and videos that remained archived for decades, and the idea is to preserve and share this memory little by little. These live releases are records of specific moments of the band and help show how Harmony Fault sounded on stage in different phases. For us, this is important not only as promotion, but also as historical preservation. An underground band also needs to take care of its memory.

V: 乐队2026年的新计划是什么？例如发行一张新专辑、录音、新作品。你能透露任何信息吗？我个人很期待你的新作品！

What are the band’s new plans for 2026? For example, a new album, recordings, new works. Can you reveal any information? I am personally looking forward to new works from you!

C: 2026年，我们的主要计划是保持Harmony Fault 的活跃和组织。在"Gore Beyond Blood"发行后，我们希望继续推广这张专辑，制作更多内容，更好地组织我们的历史资料，并加强乐队在数字平台上的影响力。我们还与Vômito乐队为一张7英寸的EP创作新歌，这让我们非常兴奋，因为它涉及一个在地下一直具有巨大影响力和合作伙伴的乐队。除此之外，我们想更频繁地进行现场演出，我们正在努力在不同的城市和活动中表演，采用新材料，让乐队在舞台上保持活跃。我们在YouTube上投入了大量资金，恢复了乐队不同阶段的旧视频、完整节目、罕见档案、采访和记录。这是保护Harmony Fault历史的更大工作的一部分，特别是考虑到乐队将于2027年成立25周年。我们也对合成新材料感兴趣。现在承诺一张新的完整专辑还为时过早，但这种愿望是存在的。目前的阵容非常好，"Gore Beyond Blood"开辟了有趣的道路：更多的重量、更多的Death Metal、更多的Groove、更广泛的主题，以及一直是乐队一部分的血腥污垢。我们对未来几年的另一个愿望是找到一个有兴趣重新发行我们的第一张完整专辑“Rotting Flesh Good Meal”的唱片公司。这张专辑在Harmony Fault的历史上有着非常特殊的意义，我们希望看到它得到一个新版本，最好是有额外的材料。我们有质量非常好的旧演示录音，可以作为奖励曲目包含在内，有助于保存乐队轨迹的重要部分，并向新的听众和收藏家展示。如果有任何品牌对此次重新发行感兴趣，我们很乐意与您交谈并评估可能的合作伙伴关系。另一个计划是加强国际联系。从这个意义上讲，对火山杂志的采访非常重要。知道有人对中国感兴趣，那里有收藏家拿着我们的旧CD，这真的让我们感到鼓舞。我们希望Harmony Fault能接触到巴西以外的更多人，尤其是那些重视实物、历史和真实地下世界的粉丝。我们还打算继续发布视觉内容、视频，也许是新的剪辑或抒情视频，以及档案材料。我们的目标是让乐队保持活力，不仅仅是作为唱片，而是作为一个动态的故事。

For 2026, our main plan is to keep Harmony Fault active and organized. After the release of Gore Beyond Blood, we want to continue promoting the album, producing more content, organizing our historical material better and strengthening the band’s presence on digital platforms. We are also composing new songs for a split 7” EP with the band Vômito, something that makes us very excited because it involves a band that has always been a great influence and partner within the underground. Besides that, we want to play live more often and we are working to perform in different cities and events, taking the new material and keeping the band active on stage. We are investing a lot in YouTube, recovering old videos, full shows, rare archives, interviews and records from different phases of the band. This is part of a larger work of preserving Harmony Fault’s history, especially thinking about the band’s 25th anniversary, which will be completed in 2027. We are also interested in composing new material. It is still too early to promise a new full album, but the desire exists. The current line-up is very good, and Gore Beyond Blood opened interesting paths: more weight, more death metal, more groove, broader themes and still the goregrind dirt that has always been part of the band. Another desire we have for the next years is to find a label interested in reissuing our first full-length album, Rotting Flesh Good Meal. This album has a very special meaning in Harmony Fault’s history and we would like to see it receive a new edition, preferably with extra material. We have recordings of old demos in very good quality that could be included as bonus tracks, helping to preserve and present an important part of the band’s trajectory to new listeners and collectors. If any label is interested in this reissue, we would be very happy to talk and evaluate possible partnerships. Another plan is to strengthen international contacts. This interview with Volcano Magazine is very important in that sense. Knowing that there is interest in China, that there are collectors there with our old CDs, is something that really encourages us. We want Harmony Fault to reach more people outside Brazil, especially fans who value physical material, history and true underground. We also intend to continue releasing visual content, videos, maybe new clips or lyric videos, as well as archival material. The goal is to keep the band alive, not just as a discography, but as a story in motion.

V: 作为一支古老的巴西乐队，你在巴西有一定的地位和支持。我是乐队的忠实粉丝，我收集你的CD来支持你。我也希望通过这次采访吸引更多的中国歌迷了解和支持乐队。采访即将结束。你对中国歌迷有什么要说的吗？

As an old Brazilian band, you have a certain status and support in Brazil. I am a loyal fan of the band and I collect your CDs to support you. I also hope to attract more Chinese fans to know and support the band through this interview. The interview is coming to an end. Do you have anything to say to Chinese fans?

C: 首先，我们衷心感谢您的支持、关注和机会。对于像Harmony Fault这样的巴西地下乐队来说，知道我们的CD传到了中国，并且有人对我们的历史感兴趣，这是非常特别的。Harmony Fault诞生于巴西南部的一个内陆城市，在资源少、结构小、意志力强的情况下制造噪音。我们从未想过，近25年后，我们会与中国球迷谈论我们的发展轨迹。这显示了地下的力量。即使有这些困难，极端音乐也可以跨越国界、语言和大陆。我们想给所有喜欢Goregrind、Death Metal、Grindcore和极端音乐的中国粉丝一个拥抱。支持乐队，尽可能购买实物材料，给乐队写信，交换联系方式，传播杂志，让现场保持活力。地下世界之所以一直存在，是因为：友谊、交流、好奇心、激情和毅力。我们也非常感谢您的支持、收集我们的CD以及帮助在中国推广Harmony Fault 。对我们来说，这具有巨大的价值。我们希望这次采访能让乐队更贴近中国歌迷，为新的友谊、交流和接触打开大门。经过这么多年，我们仍然相信极端金属是友谊、记忆和表达的一种形式。Harmony Fault的思维方式已经改变、成熟和扩展，但仍然忠于地下、重音乐，以及极端艺术可以同时是嘈杂、肮脏、批判和真实的理念。Harmony Fault是一种深藏于地底的顽疾，自2002年起便如同僵尸般存在。非常感谢你，中国。

First of all, we want to sincerely thank you for the support, interest and opportunity. For a Brazilian underground band like Harmony Fault, knowing that our CDs reached China and that there are people interested in our history is something very special. Harmony Fault was born in an inland city in southern Brazil, making noise with few resources, little structure and a lot of will. We never imagined that, almost 25 years later, we would be talking to Chinese fans about our trajectory. This shows the strength of the underground. Even with all the difficulties, extreme music can cross borders, languages and continents. We want to send a hug to all Chinese fans of goregrind, death metal, grindcore and extreme music. Support the bands, buy physical material when you can, write to bands, exchange contacts, spread zines, keep the scene alive. The underground has always existed because of this: friendship, exchange, curiosity, passion and persistence. We also thank you very much for your support, for collecting our CDs and for helping promote Harmony Fault in China. For us, this has enormous value. We hope this interview brings the band closer to Chinese fans and opens doors to new friendships, exchanges and contacts. After all these years, we still believe in extreme metal as a form of friendship, memory and expression. Harmony Fault has changed, matured and expanded its way of thinking, but remains faithful to the underground, to heavy music and to the idea that extreme art can be noisy, dirty, critical and true at the same time. Harmony Fault is underground to the bone, zombie since 2002. Thank you very much, China.