The Brvtalist is pleased to premiere a new video from NosoKoma. "Screaming For Luciana" comes off the new album, Tarantos 20_24, forthcoming on Phage Tapes. A collaborative project between Jose Macabra and Nicola Serra, the two artists separately explore themes of ritual, tradition and the occult, while coming together to combine their sonic exploration.
“Tarantos 20_24” is a product of experimentation. Elements of Dadaism, Surrealism, Live art, and Art brut swap and shift; the result is a musical journey that is both haunting and beautiful. Personal experiences of loss, captivity, mental torture and fear deeply influence this body of work reflecting the human condition. In addition to the video premiere we also bring you an interview with the duo about the project, videos and more. (see below)
The Brvtalist: So, let's start with the background of the project. How did it form, and what is the concept?
NosoKoma: NosoKoma emerged during the pause of 2020, when isolation forced us to reconsider how to connect and create. Both of us had been working separately on themes of ritual, tradition, and the occult, and this project became our meeting point. The name itself hints at illness not only of the body but also of systems and states of mind. The concept is rooted in fragility and resistance: facing captivity, fear, and trauma while seeking transformation.
The material on “Tarantos 20_24” originated from improvisations where the only rule was to arrive at the rehearsal space with instruments, objects, or other devices, press record, and play without judgment. From there, we layered, re-edited, overdubbed, and sculpted the sessions into something more structured. The voice often takes on a glossolalic quality, used as an instrument rather than a vessel for fixed lyrics; emotion is conveyed through sound beyond language. For us, NosoKoma is not just a band but a vessel, a channel to explore illness as metaphor and as a catalyst for resistance.
TB: Tell us about the concept of this album and the trilogy of videos that goes along with it. Do you find that the visual aspect is a necessary element to accompany the album?
NK: “Tarantos 20_24” is both an album and a cycle, representing a descent and a return. The trilogy of videos shapes this movement. The first video, “The Tear Mountain”, is based on automatic writing, where thoughts spill into obsession until they verge on psychosis. The second, “Screaming for Luciana”, signifies the climax: a hallucinatory paranoia that must be faced head-on. The third, “Rituals of Mercy”, depicts mummification and rebirth, a ritual of closure and renewal. The videos are not merely accessories but integral parts of the same body of work. They extend the sound into visual form, heightening its tension and catharsis, and inviting the audience to step into the ritual.
TB: Tell us a little bit more about the video we're premiering today.
NK: “Screaming for Luciana” stands at the centre of the cycle, the point where everythinerupts. This video symbolises the scream, and through invocation, the body gives form to paranoia and illusion. The three videos feature the performance artist Piotr Bockowski, whose presence channels that intensity into a ritualistic dance. Directed by José Macabra, captured through Saen’s camera work and editing, and finalised by They Said They Saw, the piece mirrors the fractured unease of the track: claustrophobic, unsettled, always on the brink of rupture. Rather than illustrating the music, it extends it, turning sound into vision and vision into confrontation.
TB: Do you plan to perform the album live?
NK: Yes, absolutely. Live performance is central to NosoKoma. The album was created through improvisation, and our concerts will follow the same principle: spontaneous, immersive, and unpredictable. We won’t aim to replicate the record; instead, we will craft new dimensions each time, allowing modular systems, voices, and instruments to trigger and reshape one another in real time. The goal is to merge sound, visuals, and presence into a single environment, so the audience experiences the work not just as listeners but as active participants in a ritual.
TB: What's next for the project/anything else you would like to mention?
NK: We are preparing to bring “Tarantos 20_24” into live contexts from venues and festivals to unconventional spaces where its ritualistic energy can unfold fully. NosoKoma is conceived as a living experiment, not a fixed band. This album and video trilogy are just the beginning; what follows will persist in pushing further into confrontation, ritual, and transformation.