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Formed in 1995 in São Paulo, Brazil by artists Eliete Mejorado and Bruno Verner & infused with a contemporary Brazilian radicalism that pushes the boundaries of a hybrid vocabulary, Tetine have created a multitude of music & performance works from the spoken word to electronica, including ritualistic performances, films and video.

Their debut album Alexander's Grave was released in 1996 on their own label High School Records, leading to the birth of an homonymous performance integrating atonal electronic music and super-8 films over spoken and sung narratives. In 1998 Tetine released their second album Creme - a soundtrack for the dance group UR=HOR led by Brazilian performance artist Adriana Banana. In 1999 their third album Música de Amor (Love Songs) is released on High School Records.

In January 2000, Tetine established themselves in the UK, firstly as resident artists at Queen Mary University in London where they put out the CD Olha Ela De Novo (Here She‚s Again) their last release with High School. Later in 2001, Tetine is signed by avant-garde electronica artist Robin Rimbaud aka Scanner's UK imprint Sulphur Records and released their 4th album entitled Tetine vs Sophie Calle - Samba de Monalisa - an acclaimed collaborative electronica project with the French artist Sophie Calle. The album was very well received in Europe and made its debut live performance at the Whitechapel Art Gallery within the project Tetine: The Politics Of Self Indulgence - an agitational baroque investigation into self-indulgence through a programme of film, video, & live music co-curated by Tetine with Ian White.

In 2003 Tetine performed Samba de Monalisa as a sound art performance around Europe and collaborated with other artists for distinct live actions. Projects include the original score for Winterspace - a large scale installation and performance by British duo Igloo and performance based collaborations with Brazilian artists Jarbas Lopes and Ducha for Gambiarra, New Art From Brazil curated by Gasworks Gallery and Capacete Entretenimentos. At the same year, Tetine releases their 5th album Men In Uniform on Brazilian independent label Bizarre Music followed by concerts in festivals such as RESFEST and art shows around the country.

In 2004 Tetine performed live at Sonar in São Paulo where they were also invited to take part at SONARAMA - Sonar' series of multimedia sound art installations specially commissioned for Institute Tomie Otake. For SONARAMA Tetine created Turkish Bath - an immesrsive video/sound installation made up of four large scale projections with 16 men from various backgrounds in bathing situations.

Still in 2004, Tetine released their acclaimed compilation/mixtape Slum Dunk Presents Funk Carioca Mixed by TETINE on UK label Mr Bongo. FUNK CARIOCA was one of the first DJ mix of Baile Funk to appear in Europe, influencing an entire new generation of DJs and beat makers. At the same time, Bizarre Music put out their 8th artist album Bonde do Tetão.

In 2005 Tetine toured Europe, Brazil and made their USA debut at M3 Summit taking part at Miami Music Conference. A few months later Tetine release The Sexual Life of The Savages on Soul Jazz Records an acclaimed album of obscure early 80's underground post punk from São Paulo selceted and curated by the band.

In 2006 Tetine play a special concert at the opening night of TROPICALIA - A Revolution in Brazilian Culture - at Barbican Centre in London alongside Brazilian multi-artist Assume Vivid Astrofocus. To celebrate and mark the occasion they released a 500 limited edition CD entitled L.I.C.K. MY FAVELA (Slum Dunk Music).

Still in 2006, Tetine take part at Ether 06 festival in a program curated by Ladytron for South Bank Centre at Queen Elizabeth Hall in London alongside artists such as Chris Cunningham, Candie Hank, and Ladytron amongst others. Other actions include live performances for museums, galleries and festivals such as Palais De Tokyo in Paris, The Wire - Adventures In Modern Music festival in Chicago, Museu Serralves in Porto, Liverpool Biennal, Hebbel Am Ufer in Berlin amongst many others. By the end of the year, the Berlin-based label Kute Bash Records re-releases L.I.C.K. My Favela on vinyl.

In 2007 Soul Jazz Records release A História Da Garça – a mutant electro punk funk 12’ single with two new tracks. A few months later Tetine perform alongside Dizzie Rascal, Deize Tigrona and Buraka Som Sistema at Casa Da Música in Porto, Portugal and begin a series of shows in Europe. Highlights include the first installment of TROPICAL PUNK – an exhibit of radical contemporary Brazilian art and music with live shows and screenings curated by the band at Whitechapel Art Gallery as well as performances for Pablo Macho Magazine, Vice in Sweden amongst others.

The beginning of 2008 finds TETINE releasing their second single I GO TO THE DOCTOR on Soul Jazz Records alongiside an amazing remix of the track by CSS. The single is a taster for Tetine's new album LET THE X's BE Y's released on Soul Jazz.

Tetine have also hosted a weekly radio show in London named Slum Dunk on Resonance Fm 104.4. A brand new season is beginning on March 3rd!

Here we talk about Tetine and our relationship to sound production, technology, pop culture, performance art, body politics, autobiography and chance.

We have been defining Tetine’s work as being informed by an urgent necessity to translate our life events into personal images, sonic textures, atmospheres and states through the use of body performance, electronic devices, voice recordings and projections.

We have run Tetine as a duo since 1995. We have produced a variety of distinct original combined-media projects ranging from visual spoken-word performances; electronic music shows to video-installations and experimental albums.

Back in São Paulo, Brazil (1995), we were experimenting with Super 8 films and electronic sounds by 'misusing' devices such as digital and analogue synthesisers and samplers in an attempt to discover different ways of creating body and voice tensions alongside dark, dreamy and floating sonic atmospheres.

Tetine's first performances were primarily structured by the combination of aleatoric noises, frequencies and textures, 'out of tune' (?) vocalisations and atonal harmonies that we would get from hours of exhaustive physical work with our bodies, a couple of old synths and a TV monitor plugged into a VCR that we kept set up in a small rehearsal room.

We were particularly interested in searching for the sensorial and organic responses that such operations could offer; therefore, our main point was to distance ourselves as much as we could from traditional ways of working with sonic and body notions to establish distinctive engagements with each one of the media we utilised.

We still do that and call these experiments 'electro psycho-physic improvisations'. The aim is to develop a much closer relationship between our physical involvement, our personal image and the electronic and organic sounds we invent for live or pre-recorded performances.

Bruno Verner & Eliete Mejorado