#Max Cavalera era

[k-i-l-l-e-r-b-e-e-6-9]

𝔖𝔢𝔭𝔲𝔩𝔱𝔲𝔯𝔞

#sepultura #90s #90's #max cavalera era #Igor cavalera #paulo jr #andreas kisser #metal #groove metal #thrash metal #death/ thrash metal #brazil

[metalsongoftheday]

Tuesday, November 8: Sepultura, “The Experiment”

Conventional wisdom held that Max Cavalera’s departure drained Sepultura of its creativity, heart and momentum, and for the first few years album and ticket sales reflected that.  But Cavalera quickly found himself in a creative (and eventually commercial) rut with Soulfly, resorting to cheap trend-hopping and burning through the goodwill he accumulated over the years, while Andreas Kisser worked to push Sepultura in ways that were more artistically compelling and fulfilling if not commercially rewarding.  And although not all of these endeavors fully hit the mark- and the chaotic chemistry of the early ‘90s was gone forever- the Derrick Green era held up better than expected.  Certainly Max Cavalera would never have thought to build a concept album based on A Clockwork Orange, but if anything A-Lex took the immersive approach of Roots and applied that philosophy to a different set of textures. Even with that, “The Experiment” balanced the band’s ambition with their foundation in hardcore and extreme metal: Kisser delivered his trademark full-throttle aggression with traces of melody, while new drummer Jean Dolabella was more technical than Igor Cavalera and added a different but still exciting dynamic.  And it was worth noting that by 2009 Green had more than established himself as a vocalist in his own right, his roar getting stronger with each release.  A-Lex wasn’t perfect- it ran a bit long and got a little samey in the back half, unlike the leaner and more effective Dante XXI- but it showed that Sepultura had no interest in standing still, unlike their former bandmate.

#heavy metal #metal #heavy metal music #heavy metal rules #heavymusic #listen to metal #metal song #metal song of the day #song of the day #song #sepultura #andreas kisser #derrick green #spv/steamhammer #brazilian music #brazilian metal #concept album #heavy music #heavyrock #heavy rock #metalrock #metal rock #metalmusic #metal music #listen to music

[mundometalero]

TESTAMENT, MACHINE HEAD, FEAR FACTORY, CAVALERA y más arrasaron en el Festival Metal Injection

TESTAMENT, MACHINE HEAD, FEAR FACTORY, CAVALERA Y MÁS DEMUELAN EL FESTIVAL DE METAL INJECTION El primer festival de Metal Injection tuvo lugar los días 16 y 17 de septiembre en The Observatory y House of Blues Anaheim, y contó con una gran cantidad de bandas como Cavalera, Machine Head, Testament, Fear Factory y muchas más. Los fotógrafos Stephanie Cabral y James Alvarez estuvieron allí ambos días, ¡y estamos emocionados de compartir algunas de nuestras fotos favoritas a continuación! Testament Testament subió al escenario y ofreció una actuación impresionante. Con su sonido poderoso y su energía arrolladora, la banda demostró por qué son considerados una de las leyendas del thrash metal. Los fanáticos enloquecieron y corearon cada una de las canciones. Machine Head Machine Head no se quedó atrás y entregó una actuación llena de intensidad. Con su mezcla única de groove metal y thrash metal, la banda hizo que el público se volviera loco. Los mosh pits se formaron y la energía en el lugar era palpable. Fear Factory Fear Factory, conocidos por su sonido industrial y su fusión de metal y electrónica, no defraudaron. Su actuación fue una experiencia única, con luces y efectos visuales que complementaron perfectamente su música. Los fanáticos disfrutaron de cada momento y se sumergieron en el mundo distópico de Fear Factory. Cavalera Cavalera, la banda formada por los hermanos Max e Igor Cavalera, demostró por qué son considerados pioneros del metal extremo. Su música agresiva y su actitud enérgica hicieron que el público se volviera salvaje. Los fanáticos saltaron y gritaron al ritmo de los poderosos riffs de Cavalera. Kyng Kyng, una banda de hard rock con influencias de metal, también dejó su huella en el festival. Con su sonido potente y su carisma en el escenario, la banda atrajo la atención de todos los presentes. Los fanáticos disfrutaron de su actuación y corearon cada una de las canciones. Contracult Collective Contracult Collective, una banda de metal experimental, ofreció una actuación única y emocionante. Su música desafiante y su enfoque artístico cautivaron a la audiencia. Los fanáticos se sumergieron en la atmósfera intensa y experimental de Contracult Collective. Spirit Adrift Spirit Adrift, una banda de doom metal, sorprendió a todos con su actuación. Con su sonido pesado y sus letras introspectivas, la banda creó una atmósfera oscura y melancólica. Los fanáticos se dejaron llevar por la música y se sumergieron en la experiencia única de Spirit Adrift. Upon Stone Upon Stone, una banda de metal progresivo, demostró su talento y habilidad en el escenario. Con su música compleja y su virtuosismo instrumental, la banda dejó a todos impresionados. Los fanáticos disfrutaron de la actuación de Upon Stone y aplaudieron su destreza musical. Exmortus Exmortus, una banda de death metal melódico, ofreció una actuación llena de energía y agresividad. Con su estilo rápido y técnico, la banda hizo que el público se volviera loco. Los fanáticos headbangearon y se sumergieron en la brutalidad de Exmortus. Thrown Into Exile Thrown Into Exile, una banda de metalcore, también dejó su marca en el festival. Con su música enérgica y su actitud desafiante, la banda hizo que el público se levantara de sus asientos. Los fanáticos saltaron y se movieron al ritmo de Thrown Into Exile. Agriculture Agriculture, una banda de metal industrial, ofreció una actuación llena de potencia y agresividad. Con su sonido pesado y su estética visual impactante, la banda creó una experiencia inolvidable. Los fanáticos se sumergieron en el mundo oscuro y distópico de Agriculture. Fueled By Fire Fueled By Fire, una banda de thrash metal, no se quedó atrás y entregó una actuación llena de energía y velocidad. Con su estilo agresivo y sus riffs rápidos, la banda hizo que el público se volviera loco. Los fanáticos headbangearon y corearon cada una de las canciones de Fueled By Fire. Exhumed Exhumed, una banda de death metal, ofreció una actuación brutal y visceral. Con su sonido pesado y sus letras macabras, la banda creó una atmósfera llena de violencia y caos. Los fanáticos se sumergieron en la brutalidad de Exhumed y disfrutaron de cada momento. Incite Incite, una banda de groove metal, cerró el festival con una actuación llena de energía y poder. Con su música agresiva y su actitud enérgica, la banda hizo que el público se volviera salvaje. Los fanáticos saltaron y gritaron al ritmo de Incite. En resumen, el festival de Metal Injection fue un éxito rotundo. Las bandas demostraron su talento y habilidad en el escenario, y los fanáticos disfrutaron de cada momento. Fue una experiencia inolvidable llena de música poderosa y energía desbordante. ¡No podemos esperar a la próxima edición del festival de Metal Injection! ¿Quieres más metal? Suscríbete a nuestro boletín diario para recibir todas nuestras noticias y recibir el boletín de metal de The Orchard. Fuente: Fuente: Noticia Original (News - Metal Injection) Read the full article

[bestevents]

Max and Igor Cavalera, the founders of the legendary metal band Sepultura, are known for delivering intense and energetic performances. While individual preferences may vary, here are some reasons why their concert in Sayreville could be considered one of their best:

Sepultura Classics: Max and Igor Cavalera often perform a setlist that includes iconic Sepultura songs from their time in the band. These classics, such as "Roots Bloody Roots," "Refuse/Resist," and "Territory," are fan favorites and create a nostalgic and powerful atmosphere during their live shows.

Authenticity and Influence: Max and Igor embody the spirit of heavy metal and have been influential figures in the genre. Their performances are known for their raw energy and passion, reflecting their deep connection to the music and their dedicated fan base.

Special Anniversary or Tribute Shows: Max and Igor occasionally perform special shows that commemorate significant anniversaries or pay tribute to specific albums or eras of Sepultura's discography. These shows can feature unique setlists, guest appearances, and a heightened sense of celebration, making them particularly memorable for fans.

[tempi-dispari]

New Post has been published on https://www.tempi-dispari.it/2023/09/14/niel-la-musica-e-importante-oggi-come-ieri/

Niel: la musica è importante oggi come ieri

Niel, dopo diverse avventure con band, ha deciso di dare vita ad un progetto solista. In questa intervista ci racconta come è nata l’idea, dell’importanza dei testi e della copertina di un disco. Non solo, ci racconta anche qualche aneddoto della sua vita di musicista. Una chiacchierata tutta da leggere e meditare.

Una presentazione per chi non ti conosce

Mi chiamo Daniele e Niel è il mio progetto solista nato nel 2019 dopo aver avuto varie esperienze in band negli anni passati.

Qual è il tuo genere?

Mi piace dire che faccio Alternative Rock, senza nessun riferimento preciso o generi in particolare.

È stata una scelta?

Nelle band precedenti ho sempre suonato Grunge e questa dell’ Alternative Rock la definirei si, una scelta, sopratutto di “libertà” compositiva.

Le tue influenze?

Sono cresciuto a pane e Nirvana, ma ho avuto influenze anche Punk Rock come Bad Religion, Metal come Sepultura (di Max Cavalera) solo per citarne alcuni e sono un grandissimo fan dei Rammstein

Di cosa trattano i tuoi testi?

Nei miei testi parlo di tutto ciò che provo, senza inibizioni, esperienze, sentimenti puri e crudi, senza censure espressive.

Come nascono le tue canzoni?

Non uso uno schema preciso, non ho un diktat da seguire. Sono molto impulsivo quando scrivo e compongo i miei pezzi.

Quanto è importante la musica nel mondo di oggi?

La Musica è importantissima oggi , ma come lo era ieri. Credo solo che in questi tempi odierni si sia perso un po il senso del vero significato, ovvero l’ esigenza di comunicare e sia stato confuso con quello di apparire “essere figo”.

Parlateci del tuo ultimo disco

“IntimaMente” è il mio primo EP uscito a settembre 2022 su tutte le principali piattaforme digitali.(Registrato, mixato e masterizzato da Studio MEDA Sound).Come si può ben intuire dal titolo è la parte più intima di me, quella che in tanti anni di scrittura di canzoni non avevo mai fatto uscire fuori in maniera cosi schietta. Si parte dalla prima traccia “Il Burbero” che parla di quanto sia scontroso e chiuso di carattere.

“Dannato Odio” la traccia 2 invece parla di quanto possano stare sullo stomaco tutte quelle persone saccenti con fare di superiorità senza magari nemmeno sapere chi hanno davanti. la traccia 3 è “Intimamente”, tratta di un brutto periodo di depressione, di quanto ci si possa sentire soli anche in mezzo a molta gente. “Angelo Dal Cielo Grigio” è la quarta traccia, una canzone che mai avrei voluto scrivere.. è dedicata a Emanuele mio fraterno amico di vita e di musica. Purtroppo scomparso nel 2017. Chiude l’ EP “Inesorabile Tempo”, un pezzo strumentale che trova la sua spiegazione nel titolo stesso.

Quanto è importante la copertina di un cd?

Trovo sia abbastanza fondamentale, anche se non si giudica un libro dalla copertina, la cover di un cd, sopratutto di emergenti ha il compito di attirare l’ attenzione, se già quella riesce ad incuriosire, aumenta la possibilità di un ascolto.

Un aneddoto divertente di un tuo live

Uno dei primi concerti con la mia prima band Unnamed, dove, per l’ emozione, accordai due corde uguali della chitarra. Adesso ci rido su, ma quel giorno sarei voluto scomparire.

Una band per cui vorresti aprire?

Sicuramente è stata una vera emozione quando ho suonato nello stesso evento dove Headliner era Alberto Ferrari dei Verdena in veste solista. Ma mi piacerebbe molto aprire anche per Pierpaolo Capovilla.

Un gruppo mainstream che ancora ti stupisce?

Rammstein (se si possono definire tali)

Aspettative per il futuro?

Vivere giorno per giorno, continuare a scrivere canzoni. (In cantiere c’è gia un nuovo lavoro, che se trova un po’ di supporto, spero possa diventare presto un disco.)

Un motivo per cui le persone dovrebbero ascoltarti?

Per pura curiosità. Tutto il resto è soggettivo al gusto dell’ ascoltatore.

Un saluto a chi ti legge

Permettetemi, in primis, di ringraziare veramente di cuore per il grande lavoro che fa ogni giorno Carmine di Tempi-Dispari. È grazie a persone come lui se band e solisti emergenti come me oggi hanno ancora un po’ di respiro in questo turbinio caotico del mondo musicale odierno. Uno speciale ringraziamento va a tutti coloro che hanno curiosità, voglia di ascoltare scoprire e supportare la musica emergente, voi siete la linfa di cui abbiamo bisogno. Ciao e buon Fo**uto Rock a tutti Niel.

#niel

[blueisthecolorofmysoul]

Let's Talk About... Nailbomb - Point Blank LP What happens when members from two of your favorite bands in the early 90's combine to record an industrial, heavy metal album? No. Not a new era of Voltron. Absolute destruction of everything else. That's what. This record is packed front to back with anger, fury and total abuse of your ear drums. Featuring Alex Newport of Fudge Tunnel and Max Cavalera of Sepultura, many would say it's a safe bet that this record would be amazing. It does not always work out that way for our heroes and their side projects. This one completely scorches the earth. It's still as strong of a listen today as the first time we heard it unleashed in the early 90's. Grab one in store at @collectiveclothing or find similar artists on our web store at InherentRecords.com Check the links in our bio for website and Discogs Hate is reality… https://open.spotify.com/album/0CcgwAkqiglrLu6lH5lrSU?si=vJfKjFe1S2mkdNSATuJeAw #Nailbombvinyl #Nailbomb #PointBlank #vinyl #collectiveclothing #inherentrecords #chattanooga #records #nowplaying #vinylrecords #yournewrecord #chattanoogavinyl #hiddengem #recordsofinstagram #vinylcommunity #mailorder #vinylmailorder #monumentsinruin (at Collective Clothing) https://www.instagram.com/p/CisIpFermKe/?igshid=NGJjMDIxMWI=

#nailbombvinyl #nailbomb #pointblank #vinyl #collectiveclothing #inherentrecords #chattanooga #records #nowplaying #vinylrecords #yournewrecord #chattanoogavinyl #hiddengem #recordsofinstagram #vinylcommunity #mailorder #vinylmailorder #monumentsinruin

[yuritestikov]

⚡ Max & Igor Cavalera, Arise Era, 1991⚡

#Max Cavalera #Igor Cavalera #Sepultura #thrash metal #heavy metal #1990s #metal #Iggor Cavalera #Soulfly #Cavalera Conspiracy #death metal

[happymetalgirl]

Who did it better? (#1)

In the interest of livening up this blog and shaking up the homogeneously review-oriented content, I’m kicking off a casual little series that I thought of a while ago that I think can spark some interesting comparisons. A lot of song titles are shared by multiple artists, especially one-word titles. As is pretty self-explanatory by the title of this series, I’m simply comparing several pairs of songs from different artists that share a title, and decide who did it better, starting with a face-off between old-school and new-school death metal through two titans of the genres:

Sepultura vs. Behemoth: “Amen”

Both these songs come from acclaimed, fan-favorite albums from the heights of both bands’ careers. And while both tracks are solid features of their respective albums, I think the sheer energy and grandiosity that the Behemoth track has edges it out on top over the more standard old-school death metal Sepultura track for me. A more iconic cut from Chaos A.D. might have won Sepultura the prize, but this matchup kind of just presents, through a couple of random samples, the progression and improvement of the genre. The first win goes to Behemoth, on to the next match-up.

Dream Theater vs. Five Finger Death Punch:  “Never Enough”

Both of these bands have their share of detractors, Five Finger Death Punch obviously with the heftier bunch, myself included in that group, and both songs fittingly deal with the unbreakable dissatisfaction of other people. But “Never Enough” lands on opposite ends of the bands’ respective catalogs; for FFDP, it’s one of the of the bonus tracks that caught on from the 2008 re-issue of their 2007 debut album before they became the unbearable pandering act they are today, while for DT, it’s eight albums in on the front-to-back prog metal success, Octavarium. The Dream Theater song finds the band dipping its toes into the electronic alternative rock of Muse with surprising comfort, and even though it’s eclipsed by most of the album it’s on, it still outdoes the passable, but formulaic FFDP bonus cut.

Sevendust vs. Periphery:  “Alpha”

If you exclude the “Juggernaut” portion of the Periphery album, both of these are title tracks, Sevendust’s closing their sixth album. This one, far and away, belongs to Periphery, Juggernaut: Alpha capturing the band at their most meticulous, passionate, and unabashed, and the bold move of the title track’s poppy, yet emotive melody paid off in spades. Sevendust’s alternative metal version of “Alpha”, unfortunately ends the album they titled after it on a drab, formulaic note that pales in comparison to the bombastic Periphery song.

Swans vs. Metallica: “Better Than You”

Alright, now we’re including a band not really considered to be in the metal sphere, Swans, up against one of the greatest of the greats. And while Swans haven’t ever released anything that’s been classified as metal, their contribution to the 80’s “no wave” movement through their incredibly noisy and abrasive early output, particularly their debut album, Filth, and especially by the day’s standards, has had its influence on the metal world. Around the same time, Metallica were making their massive, legendary contributions to heavy metal’s movement away from glam toward the enthralling ferocity of thrash. But neither of these songs come from the bands’ most aggressive eras, but rather their departures from their earlier sounds during the 90’s. The Swans song opens up Michael Gira and company’s full transition into cerebral post-punk on 1991’s White Light from the Mouth of Infinity, and Metallica’s is one of the more upbeat numbers from their 1997 head-scratcher, Reload. Ultimately, the Metallica song serves as a refresher of just how energetic and not-that-bad Metallica was during their more rockin’ moments on Load and Reload, while the Swans track serves as a reminder and representation of how awkward Swans’ transition into their second phase of their career was. While some of their fans swear by it, I’ll take the more abrasive stuff before it or the more sprawling post-rock experimentation that it grew into any day. While it’s definitely not their best song either, I’d rather listen to Metallica’s “Better Than You” 9 times out of 10.

Breaking Benjamin vs.Three Days Grace:  “Home”

As common as one-word titles are, I feel like these bands are still probably just two of many in the alt-metal world to make songs titled “Home”. The concept of home is just so ripe with potential for angst-y situational reflection or broader societal reflection, impossible for alternative metal bands to avoid. But I went with these two artists because I feel like they are some of the more prominent in the genre, and both songs are under-the-radar debut-album hits among fans. The Wizard of Oz-themed Breaking Benjamin track captures the band at their most creatively creepy and heavy, while the juicily angst-y Three Days Grace track rages at the fractures of a distressed relationship between cohabitants. While the Three Days Grace “Home”, I think, does outshine the album’s other (ironically)-iconic single “I Hate Everything About You” and while Breaking Benjamin’s version doesn’t really eclipse the fan-favorite banger, “Polyamorous”, I still prefer the Breaking Benjamin track for its creativity and emotional dynamic.

Ghost vs. clipping.:  “Body and Blood”

While I am certainly more of a Ghost fan than a clipping. fan, “Body and Blood” pits clipping. at some of their best against Ghost on their sophomore slump. “Body and Blood” is one of the more naturally fun catchy songs on the largely overthought Infestissumam, but the punchy industrial energy of the clipping. dance number is just too much to override. It’s like clipping. putting up their star player against one of Ghost’s reserves, so not much of a surprise with the lopsided contest there.

Avenged Sevenfold vs. Mutoid Man: “Afterlife”

I definitely enjoy both of these artists’ songs, and the albums they appeared on. The more recent Mutoid Man song is the shorter of the two, and unfortunately one of the more hum-drum thrashy stoner metal tracks on the otherwise excellent War Moans, whereas Avenged Sevenfold’s track is a live staple that served as the driving lead single to their polarizingly mainstreamed, but retrospectively heralded self-titled 2007 album ten years before Mutoid Man’s version of the song came out. And as much as its formulaic verses and choruses gave fuel to all the band’s detractors, the single is a fine example of infectious 2000′s alternative metal with lots of extra classic heavy metal melodicism. So I’m going with A7X on this one.

Gojira vs. Red:  “Death of Me”

Two sophomore-album bangers square off over the “Death of Me” title, one of my favorite artists whose unique approach to progressive death metal has earned them the deserved attention they enjoy now versus one of the most underrated bands of 2000′s alternative metal whose version of the song highlights their aptitude with symphonic elements in comparison with their contemporaries as a lead single off their sophomore effort. And this one is tough, because I also find Gojira’s The Link to be an underrated part of their catalog, chocked full of unusual but tasty rhythm that rivals even Meshuggah, and “Death of Me” is one of several highlights from that record. With its energetic string melody and climactic build-up bridge to an emotive vocal melody, I think the Red track takes the cake by just a hair, but both tracks showcase well their respective artists’ quality.

Soulfly vs. Meshuggah:  “Bleed”

I had to end with this one; my bias definitely leaks through on this match-up, but it’s undeniable how iconic and influential Meshuggah’s “Bleed” has been since its release, undoubtedly Meshuggah’s most iconic song whose triplet drumming has been ripped off by an entire genre. For Soulfly, “Bleed” kicked off a new era and commitment to nu metal for Max Cavalera in fiery fashion, and it’s one of Fred Durst’s more tolerable moments, but compared to how much of a movement Meshuggah’s spawned and how instantly recognizable, impressive, and groovy the Meshuggah song is, it’s no contest.

[pirraca]

Max Cavalera, nome artístico de Massimiliano Antônio Cavalera,[1] (Belo Horizonte, 4 de agosto de 1969) é um cantor, guitarrista e compositor brasileiro. Formou a banda de thrash metal Sepultura (que no começo era death metal) juntamente com seu irmão, Igor Cavalera. Devido as desavenças, rompeu com a banda em 1996, formando o Soulfly. A voz de Max Cavalera é conhecida mundialmente por ser forte e gutural. Graças a isso, foi escolhido para fazer uma participação no filme O Retorno da Múmia, no qual ele fez os gritos de um demônio.[2] No início dos anos 90, mudou-se para Phoenix, Estados Unidos, e hoje é naturalizado estadunidense Em 2007 formou outra banda juntamente com o seu irmão Igor Cavalera de nome Cavalera Conspiracy, "a conspiração dos Cavalera" que se apresentou com o nome Inflikted em Tempe, Arizona no "11th Anual D-Low Memorial Show" no dia 31 de agosto. Esta banda também serve para mostrar que os irmãos voltaram a se entender. Em outubro de 2008, a revista Rolling Stone promoveu a "Lista dos Cem Maiores Artistas da Música Brasileira", onde Max Cavalera ocupa o 47° lugar.[3] Em 2011, formou o supergrupo Killer Be Killed juntamente com Greg Puciato (The Dillinger Escape Plan), Troy Sanders (Mastodon) e Dave Elitch (ex- The Mars Volta), experimentando outros estilos.[4] #djpirraca @maxcavalera_officiale @sepultura @thesoulflytribe #maxcavalera #bday (em DJ Pirraça) https://www.instagram.com/p/CDdyofDFtPC/?igshid=zlga9ex5sowv

#djpirraca #maxcavalera #bday

[k-i-l-l-e-r-b-e-e-6-9]

𝔐𝔞𝔵 ℭ𝔞𝔳𝔞𝔩𝔢𝔯𝔞

#𝔐𝔞𝔵 ℭ𝔞𝔳𝔞𝔩𝔢𝔯𝔞 #sepultura #metal #90's #concert #live #stage #90s #thrash metal era #max cavalera era #Brazil

[sleepingswift85]

Just noticed with the ‘Multiple stab wounds’ verse Jon sings in ‘Three Wishes’ is perhaps metaphoric for ‘breaking my heart’.

Also a note on Kurt Travis era on the Deathstar... it sounds a bit like TREOS. It’s cool. Dig ‘Caviar’. Moreno has collaborated with everyone from Max Cavalera to Anthony Green.

Imagine Chino singing with Tillian

THIS NEEDS TO BE A THING.

#dance gavin dance #three wishes #afterburner #kurt travis #chino moreno

[omegaplus]

# 2,923

Sepultura “Ratamahatta” (1996)

One of the last Sepultura singles before the cut-off, and by that I mean the Roots / Blood Rooted era (1996-1997) before Max Cavalera left and Derrick Green took over. I listened to Against (1998) only once and that’s when I had to go backwards. I re-discovered “Ratamahatta” after a long time of not hearing it and it reminded me of when this band was savage. That is, until you hear their cover of Bob Marley’s “War” (’76) as the B-side. Then I realized they were no longer savages. They were total fucking animals.

Tracklistings are different all over the world. Japan gives you demos of “Roots Bloody Roots” and “Dusted”. An unofficial Bulgaria cassette has the most songs, removing the demos with “Attitude”, “Kaiowas (Tribal Jam)”, and live versions of “Clenched Fist” and “Biotech Is Godzilla”. The UK’s 7″ has a live version of “Mass Hypnosis” as their B-side.

#omega #WUSB #music #mixtapes #reviews #playlists #Sepultura #Max Cavalera #Bob Marley #death metal #metal #reggae #Brazil #graffiti

[iambenjiijackson]

The Groove Guide - Reviews 2008

The Prodigy - Experience Expanded/More Music For The Jilted Generation With the advent of British big beat/hard dance merchant's The Prodigy's fifth studio album, released by their new record label Take Me to the Hospital, it was inevitable that XL Recordings and Maverick undertook the same treatment EMI gave Radiohead and Capitol gave The Vines in releasing previous albums to capitalize off their success. However, rather than a traditional "Best Of" compilation which, well, has already been done, the shrewd move was to re-master two albums which helped both shape the big beat scene and redefine techno and rave with added b-side and live track bonuses. Experience and Music For The Jilted Generation both became important albums for the dance music scene; where Experience expanded upon early rave culture and fused jungle and techno with tracks such as "Out Of Space" and "Everybody Into The Place", both remixed and contained on the "Expanded" section of this re-release, it's ...Jilted Generation which provided a crossover between the underground to their critically and commercially acclaimed Fat Of The Land; the edgier, almost industrialized sounds emanating from "Break & Enter", "Their Law" and the Nirvana-sampling "Voodoo People" bridging ravers and rockers into the Big Beat sound that sculpted the likes of The Chemical Brothers, The Crystal Method and Fatboy Slim and gave birth to what we now know as 'electronica.' B-Sides from their single releases, live tracks from their most recent stints at Pukkelpop and remixes from Dust Brothers, the real reward is the re-mastering of the songs and highlighting that despite today's standards highlighting fluro, glamour and fashionista sensibilities, it never needs to be that way.

Los Campesinos  - Hold On Now, Youngster

If you're not really a fan of twee, this may change your mind. Welsh sextuplet Los Campesinos have been making an impression within the 'indie' scene, but rather that come across sophisticated and potentially haughty, the group have a power-pop element which comes across as fun. Catchy, with the ability to muster a smile upon the face of anyone (case point - "You! Me! Dancing!), Hold On Now, Youngster... is nigh on flawless and is once again more proof Wales, who have provided a number of influential acts in the past two decades, are doing something right nurturing their countries music scene.

Akaname - Filthlicker

The internet seems to heavily favour bands of Akaname's variety for good reason - while mainstream outlets omit such "radio unfriendly" one might be inclined to state as being on "Filthlicker", the internet and it's at times quite staunch view on bands place emphasis on talent rather than aesthetics. What we have with Filthlicker is a band who are mixing one part The Dillinger Escape Plan with five parts The Black Dahlia Murder to a great accord. New Zealand's music scene has just been hit with another metal(core) slug to its chest – one that'll be fired on April 11th at Oblivion in Auckland.

Goodnight Nurse - Keep Me On Your Side Goodnight Nurse seem to have turned a trick used by Blink 182; from that bubblegum-esque pop they once honed during their "Always and Never" era, there seems to be a more serious straight-ahead approach to the band. Almost breaking away from the quasi boy-meets-girl, girl-breaks-boys heart formula their new album makes them sound a little less New Found Glory and, strangely, a lot more like Homegrown and their 'darker' punk rock. An apt analogy would be to compare their work used in a Judd Apatow movie rather than a high school comedy akin to American Pie. "Drift Away" perhaps the standout track on the album, with "Lay With Me" there for older fans as not to alienate them. Definitely a goodnight rather than a goodbye from the boys.

Otep - The Ascension

Otep were one of the bands that during the golden age of nu-metal at the start of the 00's passed through with both relative success and, more importantly, a deal of anonymity - though they had their fans and were very much "Kittie for the thinking man", they escaped the scathing retrospective views because, sadly, people couldn't have cared less. Their latest effort retains those nu-metal sensibilities while the vocals pulling away from relentless screaming, and where the oft compared Jack Off Jill or, for some reason, Arch Enemy, found their transitional period turbulent, Otep manages such a thing near graceful. It helps, also, they pull off a Nirvana cover with justice.

Satyricon - The Age of Nero Satyricon is an interesting little quandary - though superficially resembling all the aesthetics of a black metal act, they've caused quite the controversy after the release of Now, Diabolical was cited as being "radio-friendly" amongst hardened fans of the genre. Funny how Norway's equivalent of a Grammy can do that to you... However, The Age of Nero retains the hallmarks you would commonly expect from a band of their kind; the high pitched death growl, the bleak outlook within Satyr's lyrics. Unlike other black metal acts, there is a groove involved within their sound, rather than blunt force trauma - 'The Wolfpack' melodically could seat well at home with Dirt era Alice In Chains while 'Last Man Standing' could be a Down b-side, all the funnier Phil Anselmo is rumoured to be working with the band. The black metal fan in me is reluctant to give it a high rating because it's not essentially an album of that kind. But the general metal fan in me concedes it's a brilliant piece of work and, as taboo as it could be amongst the community, is actually very accessible and at the end of the day, isn't that more important to a movement?

Emigrate - Emigrate

Touted as being "industrial metal" and including remixes from Mr. Digital Hardcore himself Alec Empire, the side project of Rammstein's Richard Z. Kruspe sounds like a delectable and, dare I say it, heavy affair. Instead, Emigrate treats us to generic, radio-friendly tracks which you would hardly expect given Krupse's CV. In fact, it seems offensive to even believe this would come from such a person – almost as if the creativity from the German group has finally diminished (let's be honest though, Rosensot wasn't exactly their edgiest, was it). Bland, devoid of anything challenging, it would seem that the aesthetics were more important than the music and by far this is little more than a vanity project for Krupse.

The CHASE - Paranoia

When it rains, it pours. 2008 definitely seems to be the year in which New Zealand's hardcore scene emerges out of the woodwork finally to the acclaim it deserves - none more so than The CHASE, who channel the spirit of good post-hardcore that emanated out of the US underground scene circa. 2002-2004. In fact, with songs such as "The Seconds" and "Boomers", you could have easily mistaken them for a band on early Drive-Thru or Victory Records. Short (the album runs little over half an hour) but both melodic and aggressive, The CHASE are like a double happy; though they make not look it, they can induce a large amount of unexpected splendour. How's NZ DIY hardcore scene going to lay siege once more throughout 2008? With bands The Chase leading the charge. Corporate punk rock stops here.

Franz Ferdinand - Tonight Doth my ears deceive me, or have Franz Ferdinand taken a page out of KISS' playbook and decided to craft a disco song or two? Though where the old aged outlaws alienated the KISS Army with their experiment, Franz Ferdinand has not - there's always been that dance party element within their previous releases and Tonight is no exception. It, however, seems like the band have been caught in a zeitgeist of electro-new-wave eighties - songs like 'Turn It On' and 'Send Him Way' almost seem homages to Synth godparents The Human League, Alex Kapranos and company even seem determined to summon the spirit of Saturday Night Fever with 'Live Alone'. Though it might seem like committing commercial suicide, the thing is Franz Ferdinand have always been eccentric, and their idiosyncrasies are their strengths. Tonight is a record you might be ashamed to admit you'd like, but you will like it... embrace your fear.

Cavalera Conspiracy - Inflikted

There's been a wait in the metal community for the mighty return of influential metal act Sepultura. While that prophecy may not come to pass, Cavalera Conspiracy reunites brothers Max and Iggor Cavalera after too long of an absence. What you'd expect is something loud, noisy and aggressive, and truth be told, that's one extent of the album. The other is the groove that made Sepultura so popular, with well crafted if deceptively simple riffs that command the ability for even a casual rock fan to nod their head. Another bullet fired from the metal scene in 2008 – Inflikted is part Nailbomb at times and at others Arise-era Sepultura, but a huge return for the brothers Cavalera.

The Naked and Famous - No Light Was it rushed? That's the sceptical question posed as The Naked And Famous release the follow up to This Machine in what does feel like a very short space of time. Though many who may not have listened to the group cite that they are simply another electro band flooding Auckland's musical landscape, they couldn't be more wrong. Dirty basslines, distorted guitars, the tracks play out more industrial than electro - leadoff single "Birds" almost a nod to With Teeth era Nine Inch Nails and the sultriness of early Garbage. Second record syndrome? Powers and company taunt it... and leads us into eager anticipation for their debut long-player

Soulfly - Conquer

Max Cavalera has had quite a busy 2008 - earlier this year we saw the long-awaited reunion with his brother Igor conjuring a zeitgeist of prime Sepultura days with his side project Cavalera Conspiracy and now the sixth instalment of Soulfly, the group he formed shortly after leaving the thrash/groove metal outfit he made his name with. With that in mind, was it ever going to be an easy feat juggling his main band with a project many of us metal fans have waited years to see? The answer isn't an easy one and leaves many sitting on the fence. 

Conquer rather than becoming a continuation of the heavier hitting sounds the group gave us with their previous release, Dark Ages, with it's throwback to albums reminiscent of Arise, combines those elements with the groove metal which brought them to such acclaim with their sophomore album Primitive. Though it's an eclectic prospect on paper, sadly in practice it comes across a little disjointed and does beg the question if now Igor is in the song-writing midsts that Soulfly becomes now a second thought to the newer Cavalera project.

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[defendersovthefaith]

max cavalera era sepultura discography

#b: sepultura #p: max cavalera #metal #heavy metal #thrash metal #death metal #groove metal #80s metal #90s metal #brazilian metal #a: morbid visions #a: schizophrenia #a: beneath the remains #a: arise #a: chaos ad #a: roots

[rocktambulos]

¿El verdadero SEPULTURA? MAX & IGGOR CAVALERA revivieron sus años dorados #Crónica

¿El verdadero SEPULTURA? MAX & IGGOR CAVALERA revivieron sus años dorados #Crónica

Luego de que en el 2016 los fabulosos hermanos Cavalera le hayan dado vida a Roots (1996) en Buenos Aires, llegó el turno de que Max (guitarra y voz) e Igor (batería) reinterpretaran la era “clásica” de SEPULTURA, es decir, la época 1989/91. La cita fue en El Teatro Flores,más precisamente, dentro de una jornada en la que la Ciudad de Buenos Aires fue asediada por una lluvia torrencial. Una…

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#Argentina #Max

[aci32]

SACRED REICH!!!!!!!!!!!!!!

Hey everyone it’s been 6 days since my first gig in 25 months and this is my 1st review overall this year and it was Sacred Reich with Sepultura. This was a great way for me to break the 25 month drought that had plagued me for so long and as well a great step in helping me feel normal, plus I got to see a couple of familiar faces I hadn’t seen in a long time as well. 

Let’s begin the festivities!

First band up was Art of Shock! This band was awesome to see as they had great energy and the synchronized headbanging ala Amon Amarth was awesome. Though the one complaint my friend and I had was the mix and as well at the start the drums were way too loud and there wasn’t enough guitar, but when that improved my friend and I cracked off a Curb Your Enthusiasm reference of “Pretty good, Preetay, Preetay, Preetayyy, Pretee good”. Definitely want to see this band again.

Second band up was SACRED REICH!!!!!!!!!!!!!!!!!!!!!!! It was my 2nd time seeing them as I first saw them at Lee’s Palace nearly 3 years ago with Iron Reagan in which they blew Iron Reagan off the stage, this time around they blew Sepultura off the stage as well as they were the band I was there for more. Frontman Phil Rind is such a ham with his funny hand gestures and as well my friend Derek making mention of songs “Crimes Against Humanity” and “Love Hate” and Phil goes “We play that song but not tonight, your 0 for 2, you may want to go into your car and cry” of course I was cracking up while that was happening. Here is what their setlist looked like:

Divide & Conquer

The American Way

Manifest Reality

Independent

Who's to Blame

Ignorance

Salvation

Death Squad

Surf Nicaragua            

After Sacred Reich it was time for the headliner, Sepultura. I hadn’t seen them before and even though I can’t stand the Derrick Green era material, they put on a great live show. It was cool to hear the 7 Max Cavalera songs in Territory, Propaganda, Infected Voice, Refuse/Resist, Arise, Ratamahatta, and the last song Roots, so those songs definitely made up for it during their set. It was also funny when Derrick and Andreas Kisser were doing some banter in between songs together like correcting each other’s phonetics. Would I want to see Sepultura again on their own? Probably not. Would I see them at a festivial ie Wacken? If there were no other bands of my interest playing and if there’s no scheduling conflicts, then yes.

Overall a great show and a great way to slowly but surely feel my normal and human self.

HEAVY METAL FOREVER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!