It's Psychedelic Baby Magazine published a deep interview with Luiz Paulo Simas, keyboardist and composer of Módulo 1000, the short-lived Rio de Janeiro quartet whose sole album "Não Fale com Paredes" (1972) fused hard rock, psychedelia and progressive structures under Brazil's military dictatorship. The piece by Patrícia Marcondes de Barros traces the band's evolution from dance-circuit covers of Hendrix and Deep Purple to original Portuguese-language compositions recorded at Musidisc studio in 1971. Simas describes an intuitive, non-conceptual songwriting process shaped by the era's censorship — songs like "Curtíssima" and "Ferrugem e Fuligem" drew scrutiny, while the Latin-titled "Turpe Est Sine Crine Caput" was interrogated as possible subversive code. The album's nine tracks, from the Floydian "Espêlho" to the heavy "Ôlho por Ôlho, Dente por Dente", sit between Tropicalismo's mainstream experimentation and the protest song's direct politics. Módulo 1000 never reunited, but their lone LP, reissued by Mr Bongo, remains a document of Brazilian musicians forging a heavy, experimental voice in the dictatorship's shadow.