Posts Tagged ‘Sepultura’
Sunday, June 10th, 2012
Point of No Return EP (Candlelight)
Denver bred young-thrashers HAVOK are back on the attack with a new EP release. Following up last years’ solid Time Is Up album, the band has been tireless road dogs in 2012. This EP will be one more way to bring some new HAVOK madness to the masses as they roll from town to town.
Opening up with one of two originals “Point of No Return” picks up where the best of Time Is Up left us, excited to hear some new guys interpret the classic 80s thrash style. What HAVOK does that few of their peers in the neo-thrash scene do is keep a sense of modernness and maturity. These means while the band shows their love of the genre that inspires them, it is not mere wrote copying. They are creating original, modern thrash with cool stylistic touches. Bolstered by some co-production work from JAMES MURPHY (DEATH/TESTAMENT), the fun factor is still switched to high with sick drumming, shredding solos and killer gang vocals. Like any good band rocking this style, guitarists David Sanchez and Reece Scruggs really bring the fire, especially Scruggs and his lead playing. “Cradle To The Grave” begins with an incredible beat by drummer Pete Webber that kicks the creativity up another notch. Some urgent riffs crash your ears before Sanchez kicks in with his vocals. Rather than ape the style of so many great thrash singers he goes his own way with an approach that is aggressive, not too growly and cool. The ending riff of the song is massive and would be great mosh pit fodder live. Closing out the EP are two excellent covers. “Arise” by SEPULTURA is a classic and the band kills it. It is a few notches faster than the original speed, but it sounds good. Equally strong is their take on SLAYER’s “Postmortem/Raining Blood”. Credit again to Sanchez for keeping his own voice throughout the tracks and not trying to imitate the great vocals of MAX CAVALERA and TOM ARAYA respectively. This EP is like a gift to the loyal fans and sure to bring in a few new ones. I’m looking forward to seeing these guys on the SHOCKWAVE tour this summer.
by Keith (Keefy) Chachkes
Tuesday, May 29th, 2012
My review of Sonisphere will be done in three parts, the first two dealing with the music, and then a third part dealing with the experience as a whole. The Sonisphere in Spain is held in Getafe, which is on the outskirts of Madrid. This year’s edition was held at the Auditorio John Lennon, which is essentially right next to a military base. Due to my commitments as a father, I left home for Madrid later than expected, but got down there right as Lauren Harris’ new band SIX HOUR SUNDOWN hit the stage (made it down in four hours). Now by reading this, you might think I actually got to see her band. I listened to them while in traffic. See I got there and the abundance of parking that was promised was non-existent, as a result I had to park 2 kilometers (almost a mile and a half) away and walk with thousands of others that had been thrust into the same situation by the promoters. All of us were struggling to find the parking lot, when we got there, we found it was full. So if you didn’t get into that lot you had to drive in circles till you found parking on the street, 2 kilometers away! Anyway, more on this in part three, there is plenty to discuss. Now to the music.
By the time I got into the actual festival SIX HOUR SUNDOWN, SKINDRED, KOBRA AND THE LOTUS, RISE TO REMAIN, CORROSION OF CONFORMITY, and SONATA ARTICA had already played. By the time I did get in, LIMP BIZKIT was on stage playing “Break Stuff”, and proceeded to play just hits, “My Generation”, “Take A Look Around”, etc. Due to the fact that I got in mid-set there were tens of thousands of people in front of me, so I decided to go to the second stage and wait for KYUSS LIVES! The organizers (Last Tour International) had the brilliant idea that for the first time in the festival’s existence they would have bands overlap one another. So even before LIMP BIZKIT was done KYUSS LIVES! hit the stage. John Garcia, lead singer of the band remarked the fact that it was odd they were playing at the same exact time; he wasn’t the only one to do so during the course of the two days. The band tore through stoner classics that included “Gardenia”, “Supa Scoopa And Mighty Scoop”, and of course “Green Machine”.
Next up was SOUNDGARDEN, I got to see them on Lollapalooza 96 with METALLICA, they were one of many other bands that stopped existing shortly after the tour, RAMONES, and SCREAMING TREES, being the others. I can’t consider myself a die-hard fan of the band, although I enjoy a lot of their material. I either really enjoy their music, or it bores me. That said, I know a lot of SOUNDGARDEN die-hards that were a step away from doing the O face during the band’s performance. Stand out tracks for me included “Jesus Christ Pose”, “The Day I Tried To Live”, “Outshined”, “Rusty Cage” and “Slaves & Bulldozers”. Their set was good, but for me, it was as if some of their tracks broke up the flow of the festival. It was like hitting the breaks all of a sudden, and dragging (the operative word) to a halt. Still a good set, just not someone I’d set out to specifically see.
Here is a little tidbit about the festival culture here in Spain, the headliner isn’t the last band to go on, this is something Burton C. Bell of FEAR FACTORY mentioned at the close of day 2. SOUNDGARDEN were the headliners of day 1. MACHINE HEAD hit the stage next, and if I mentioned that the SOUNDGARDEN die-hards were elated to see their band, the MACHINE HEAD faithful were down right pissed. You know all of this nonsense that Bruce Dickenson says about American crowds, and how in Europe they’re just happy to see you and celebrate? How they don’t care if you only play a greatest hits set? I think you had several thousand people really angry at MACHINE HEAD that would beg to differ. Why you ask? They played 7 tracks, and 5 came from their latest album Unto The Locust. “Imperium” and the closer “Halo” were the only two to not come off of the album. So now you’re thinking wait, they closed with “Halo”? And “Imperium” was the only other song that wasn’t. Where’s “Davidian”? The DJ that came on two hours later emphatically launched into his set and proclaimed “here’s the one MACHINE HEAD forgot” as you can hear Kris Kontos legendary intro. So, I understand both sides of the coin here, if I’m MACHINE HEAD, I’m proud of my latest album, and I want to play songs off of it, but I can also understand the fans, you’re playing seven tracks, and five come off of the new album? I didn’t hear one positive thing about the set afterwards. Spain has always been a strong hold for the band, even when the The Burning Red came out. A generation of Spanish metal heads have grown up in this country with MACHINE HEAD, SEPULTURA and PANTERA being their biggest inspirations. It was also surprising to many that with such a reduced set that Rob Flynn would take several minutes to intro “Darkness Within”. Personally I thought the set was alright, not as good as other times I’ve seen them, not as long either, and the sound was not that loud (more likely the organizer’s fault and not the bands.) I personally enjoyed the opener “I AM Hell (Sonata in C#)”, and the two classics I mentioned “Imperium” and “Halo”.
Once MACHINE HEAD wrapped up, it was off to see doom metallers ORANGE GOBLIN. They were the surprise of the day for me. Although I’ve know the name for a while, I can’t say that I know enough of their catalogue, and will definitely check them out more in the coming days. With this said I did enjoy “The Fog” which came off of their latest release A Eulogy For The Damned.
Letting the music of day one sit with me roughly 48 hours, I’d have to say the day was full of good bands, nothing great and nothing that was over the top memorable. THE OFFSPRING and ORANGE GOBLIN were by far the best acts of the first day.
Victor M. Ruiz
Wednesday, August 31st, 2011
GREG PUCIATO certainly has a lot of irons in the fire these days. Whether he’s working on a solo project, laying down mystery vocals for an as-yet-announced project or touring his ass off with DILLINGER ESCAPE PLAN. Now, Puciato has revealed that there is even more in the works – and when you’re talking about more music from Puciato, we tend to get very excited around these parts. Check out what he posted on his Facebook page:
“Working on some “to be released eventually” music, plotting late 2011/early 2012 DEP misadventures with Weinman & Wilson, and making plans to head out to Phoenix this weekend for another writing session with Max Cav. Good start to the week…productivity is trumping ADD on this Monday afternoon/evening after a week of “I’m home from tour” celebration. How’s everyone’s week starting out?”
So, there you have it! DEP will have some new material for us shortly and, probably even sooner, a new tour! Now we have a confirmation that Puciato is writing with MAX CAVALERA (Soulfly, Sepultura, Cavalera Conspiracy) for a new project as well. I’m most interested in a new DEP record but I’m most curious about the collaboration with CAVALERA — there are a lot of questions there, like “who will handle lead vocals between these two” and “who else is involved”. Unfortunately there are no answers to these questions yet, however feel free to speculate below!
Stay tuned for more details as we get ‘em!
Friday, August 12th, 2011
It’s well over a decade since Sepultura have been struggling to get out from under their own shadow. Now with Kairos, the sixth post-Max and now fully Cavalera-less entry, the Seps remain fighters-against-the-odds with an album that feels natural and poised: perhaps more so than most of Seps Mach 2′s past offerings. Where 1998′s Against was fueled by the anger of their post-Max situation and subsequent entries merged experimentation with what we would expect from any era of the Seps, this is the record where it all seems to come together. Consider this: perpetually “new” vocalist Derek Green has been in the band longer than the elder Cavalera. He finally feels like a natural part of the band versus being shoehorned in.
There’s no denying that there’s been a lot of forgettable material aired over the past decade. Kairos has its share of unmemorables – the biggest offender being covers of Ministry’s “Just One Fix” and The Prodigy’s “Firestarter”. Yet, with this entry, the good topples the unremarkable. There’s even a song or two like “Relentless” or “Mask” that may become part of the band’s live show.
With drummer Jean Dolabella taking the stool from Iggor Cavalera and guitarist Andreas Kisser leading the creative charge, the bulk of songs are shorter, blunter and straight to-the-point. The likes of “Seethe” take that focus to heart. While the band has opted for self-production in the past, it sounds like producer Roy Z. (Halford) has helped bring that focus to the fore. Unlike the last album, A-Lex, there’s no thematic noodling to deal with. For better or worse, Sepultura is still on a mission to silence any doubters. This time, they’ve got ‘em down down to a dull murmur.
Monday, August 8th, 2011
Hereditas (Greyhaze Records)
I’m not a very superstitious guy in life. However, sometimes signs jump out at you and glare in your direction until you notice them. After a few listens of the new EP from Brazil’s DESALMADO, I sat down to type this review and a funny thing happened. Out of nowhere my laptop, recently out of the repair shop started typing out a series of repeated numbers all on its own. All the numbers were strings of 666. Over and over again. 666. I shit you not! I’m not sure if my laptop is possessed or not, but one thing I do know is grindcore in Portuguese is muito surpreendente! Formerly known as EL FUEGO, the band is nearly finished with their full length opus produced by SEPULTURA drummer Jean Dolabella. In the meantime we have the Hereditas EP to tide us over until then.
Furious, fast and undeniably vibrant sounding, the band blends grindcore, hardcore and thrash styles to craft an expert slab of metal. Even in just under fourteen minutes you can hear the high quality of the songwriting and playing in the group. Lead track “Condenados Pelo Odio” sounds like old-school SEPULTURA to begin with after a thunderous opening. However, quickly it drops into a breakneck thrash/grindcore tempo that nearly reminds me of early KRISIUN. Fast and brutal is the way to go and for this and clearly shows the band has listened to a lot of NAPALM DEATH and KILL THE CLIENT growing up. The ending groove is just massive and killer. Second track “Em Sua Honra” just a short blistering jab in the eye musically. A wake up call with sick guitars and crazy vocals by front man Carlo Augusttas. His growling scream calls to mind Kevin Sharpe (BRUTAL TRUTH/VENOMOUS CONCEPT/PRIMATE) and is terrific. “Miseria Escravatura” is another quick burner chock full of great riffs and histrionic tempos. I fear someone is gonna hurt themselves trying to head bang and keep up with the power and speed of these songs. Moving a notch beyond the typical sounds found in most of the genre, DESMALDO is not afraid to change it up and show their other influences too. Drummer Ricardo Nutzmann definitely has a bit of the old Igor Cavalera tribalism in his stick work and you couldn’t fault the guy for being impacted such a legendary drummer from his country’s most important band. “Chagas Avertas” bashes and slashes away with razor wire riffage. Guitarists Estevam Romera and Bruno Texieira have good tones and can do more than just pedal a basic riff. These guys can really play whether it is thrash, punk or even a touch of death in their style. Bassist Maria Piti has a really sweet tone, albeit it is buried too much in the mix like most grindcore. The best track here is “Manto de Sangue” which means “cloak of blood”. The track is just vicious sounding and the guitars sound like hot saw-blades in action. The final song “Hereditas” is yet another harsh one. This band gives me a lot of hope and I’m really looking forward to their full length album later this year.
DESMALDO: One to watch.
by Keith (Keefy) Chachkes