{"id":25073,"date":"2020-07-28T14:16:59","date_gmt":"2020-07-28T18:16:59","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/dengue-dengue-dengue-terres-disparues-et-tresors-retrouves\/"},"modified":"2020-07-29T11:05:51","modified_gmt":"2020-07-29T15:05:51","slug":"dengue-dengue-dengue-terres-disparues-et-tresors-retrouves","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/dengue-dengue-dengue-terres-disparues-et-tresors-retrouves\/","title":{"rendered":"Dengue Dengue Dengue: Lost lands and unearthed treasures"},"content":{"rendered":"\n

Photo: Hendrik Kussin; masks: Carol Almeida <\/em><\/p>\n\n\n\n

PAN M 360:<\/strong> The theme of your new EP is mythical lost continents, and you\u2019re releasing it under a different, or perhaps subsidiary, name, DNGDNGDNG. Musically, the tracks are simpler, more skeletal, than your Dengue work. You\u2019ve been reaching beyond nuevo-latino sounds for a while now, but in this case, it feels like you\u2019ve created an update, with modern technology, of \u201croots music\u201d from places that never even really existed\u2026 or did they?<\/p>\n\n\n\n

Dengue Dengue Dengue:<\/strong> Yes, this was exactly the approach. Trying to imagine music that came from a lost place, made with ancient technology. We\u2019re always trying to create and fuse rhythms, this time we really tried to push it further, while also keeping a minimalistic style of composition.<\/p>\n\n\n\n

PAN M 360:<\/strong> Each of the lost lands that you refer to deserves a little mention, to educate our readers. We\u2019ll start with \u201cLemuria\u201d, which is supposedly in the Indian Ocean. This lost land is very important to followers of Madame Blavatsky\u2019s Theosophy\u2026 one of those weird, artisanal American religions which is kind of a soup of everything, and makes no sense. <\/p>\n\n\n\n

DDD: <\/strong>We read a bit of her work but at one point, as you said, it makes no sense. But the names really have nothing to do with it, these names and concepts were proposed by earlier archeologists, historians, and philosophers. Originally, it seems that Lemuria was hypothesized as a land bridge, now sunken, which would explain certain discontinuities in the distribution of species and ecosystems. It was later adopted by occultists and new-age philosophy.<\/p>\n\n\n\n

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Above: masks by Jumu<\/em><\/figcaption><\/figure>\n\n\n\n

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PAN M 360:<\/strong> \u201cHiperborea\u201d comes from Greek legends of a land far to the north, a cold land of giants and eternal sun. One would think they meant Sweden, but actually, they were talking about Transylvania \u2013 in Romania, today \u2013 which doesn\u2019t have any damn giants, just lots of vampires.<\/p>\n\n\n\n

DDD: <\/strong>Actually, I didn\u2019t see any vampires in Romania, but maybe that\u2019s because Peruvians eat a lot of garlic? Each author who described Hyperborea located it in a different place; some thought it was in between the Transylvanian alps, others in the Artic ocean, and others in the Ural mountains.<\/p>\n\n\n\n

PAN M 360:<\/strong> To be serious for a moment, \u201cAtlantida\u201d and \u201cMu\u201d both refer to places connected to the racist ideas of so many Europeans, that the indigenous peoples of the Americas must have had help from aliens or \u201cthe ancient ones\u201d to accomplish the incredible things that they did, pyramids etc. Thoughts on this?<\/p>\n\n\n\n

DDD: <\/strong>Just to be clear, we don\u2019t follow these fringe theories blindly, these are concepts that we like to investigate with an open mind, but they are not more than theories. Atlantis was described by Plato originally, in Timaeus <\/em>and Critias<\/em>. Maybe these lost continents are an idea connected to ancient, antediluvian civilizations, or more precisely, a global, pre-Younger Dryas, technologically advanced human civilization. A way to represent the pre-cataclysm era. After the disappearance of these lost lands and the massive damage to the rest, humans founded different civilizations that rose from the survivors of that cataclysm. The buildings and monuments they found in ruins got repurposed for their own religious practices. Maybe that explains some of the advanced engineering techniques that were used in the making of some artifacts and monuments in ancient times. We are not saying that everything was built by other people, but rather the same people \u2013 back in time.<\/p>\n\n\n\n

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Dengue Dengue Dengue covers by Davide \u2018Dartworks\u2019 Mancini and Tania Brun<\/em><\/figcaption><\/figure>\n\n\n\n

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PAN M 360:<\/strong> Your releases and merchandise have featured illustrations by Davide \u2018Dartworks\u2019 Mancini<\/a>, whose drawings seem like a cross between legendary metal artist Pushead and psychedelic \u201cvisionary\u201d art \u2013 beauty and horror at the same time! Can you tell us a bit about working with him?<\/p>\n\n\n\n

DDD: <\/strong>Actually, the album Zenit & Nadir<\/em><\/a>, released last year, is the only project on which we had the pleasure of working with Davide. We were on tour in 2018, and in Davide\u2019s hometown in Italy, we played at a very nice festival where he was also participating, showcasing his artwork. We immediately approached him and bought a few of his drawings and asked for his email contact. A few weeks later, we contacted him and started working on a concept for the album. We love his stuff and we are definitely gonna keep working with him on future projects.<\/p>\n\n\n\n

Another amazing artist, who designed our first two albums and a few EPs, is Peruvian artist Tania Brun<\/a> \u2013 you should definitely go check our her work.<\/p>\n\n\n\n

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