SEPULTURA

Eddie's Lil Helper

Ancient Mariner
Brazilian thrashers SEPULTURA are in the process of writing material for their new studio album, which is said to be based on the "The Divine Comedy", widely considered the greatest epic poem of Italian literature, and one of the greatest of world literature.

The band "have what they call 'ideas' for 18 songs, that means parts of songs with no final structure," reads a posting on the group's web site. "The next step is to record a pre-demo and start putting the pieces together."

As previously reported, SEPULTURA are scheduled to film a live DVD in March. The as-yet-untitled disc is expected to include behind-the-scenes footage shot by frontman Derrick Green over the past several years since he joined the band. SEPULTURA will reportedly write and record new songs to go with Green's film.

SEPULTURA's latest CD, "Roorback", was issued in North America in August 2003 via SPV Records. The follow-up to 2001's "Nation" was recorded and mixed by producer Steve Evetts (SNAPCASE, EARTH CRISIS) at Mosh Studios in São Paulo, Brazil, and was released in Europe in May 2003 through SPV.

Upcoming SEPULTURA shows:

Mar. 11 - La Paz, BOL @ TBA
Mar. 12 - Caracas, VEN @ TBA
Mar. 21 - Athens, GRE @ Rodon Club
Mar. 22 - Thessaloniki, GRE @ Mylos Club
Mar. 23 - Istanbul, TUR @ Yeni Melek
Mar. 25 - Dubai, UAE @ Dubai Country Club
 

karljant

Ancient Mariner
Since I didn't find other Sepultura thread decided to revive this one. Been a fan of these guys since 1990 and still love them today. Yes, I took a more or less 10 year hiatus from the point they released Roots (apart from a a handful of songs I consider it to be pretty much Nu Metal hype and little music) yet they still recaptured my attention when they released the conceptual Dante XXI (really cool album). So what can I say? Here are my 2 cents regarding Sep's albums from worst to best:

Nation: I don't know what the guys were thinking back then and I believe they didn't either. It's obvious the band was bit lost here and trying to thread new ground but it all seems bleak and inconsistent as hell. The first song is listenable, the second is an enjoyable spurt of thrash core fury and from that point on it's all a clusterfuck of an acoustic nonsense of a mixed soup that surely turns sour in my ears. (3.5/10)

Morbid Visions:
Although differing slightly when written there's a great difference between "thrash" and "trash" and this record proves it. From the sleeve design to song composition , passing through the laughable attempt to sound "evil" and ending on the trashy execution this is almost utter garbage. And the reasons why it ranks above Nation are simple: a) every band has to start somewhere and they were merely kids b) albeit being horrible it's way more cohesive and c) it also features a couple of good songs especially Troops Of Doom. But then again their age is half an excuse since their debut ep Bestial Devastation is hundreds of times better than this in all aspects. If you want to listen to embryonic thrash black Sep, get their first EP. If you want Troops Of Doom get the remastered Schizophrenia album .For reasons other than nostalgia or comedy, avoid this album at all cost. (3.5/10)

Roots:
Back in 1996 Sepultura was one of the biggest 90's metal acts in the world so expectancy regarding their new album were up in the stratosphere. Comes Roots Bloody Roots advance single and one notices Sep's sound evolving once again: It looked a bit like Refuse Resist got bathed in a thick undercoat of Nu metalized down tune guitar riffing and the "Batucada" and tribal traits were even more preeminent. Still a great track with an hell of groove. Unfortunately the rest of the album doesn't hold the same quality standards. In the majority of the songs it seems like the guys simply copied Korn's debut major traits and added a thin layer of ethnic Brazilian sound and a bit of Chaos AD. There are some cool songs here and there (not more than a handful) but in the end it just hurts to listen how one of the most influential bands of the late 80's/ early 90's jumped in the Nu Metal bandwagon. Even worst is seeing how this record is overpraised to this day. Back in the mid 90's I could understand why.... but almost 25 years after (when we look back and come to terms to the train wreck that is - generally - Nu metal was) it's really unjustifiable. (5/10)

Against:
I must give props to the boys for being able to record something while going through the turmoil of their front man departure and the catastrophic reprecursions it produced. But in all honesty Against suffers from the same handicaps its predecessor did. Namely a crap load of Nu Metal cliches, a ton of basic and uninspired riffing and too much boring songs that seem to get nowhere. Don't get me wrong: it features a handful of really cool songs like the "thrashcoresque" title track, the ethnic barrage of Old Earth (that chorus) or the rightfully so RDP sounding Reza (justified by João Gordo delivering the vocals). Although it hits you with a bit more adrenaline (mainly due to a way more relevant hard core edge) Against is little more than a big Meh! (5/10)

Roorback:
When Come Back Alive kicks in we are promptly offered something that seems like Roots and Beneath The Remains had a baby and man... it sounds great and exciting! But that excitement dilutes as a barrage of sludgy mid paced half baked songs follow the opening theme. There's an assumed intention here to get a bit further from the Nu Metal genre, adding way more thrash and hardcore elements they ever did since Chaos AD (albeit in really modest amounts) but the songs still have a lot of that damned genre's undertones. So there you go: Sepultura with another semi failed attempt to reinvent themselves, although this time with some great cuts here and there and - while a bit uninspired - not sounding derivative. (5.5/10)

A-Lex:
Perhaps the most unique album by the band, A-Lex's is a concept album based on the novel A Clockwork Orange and. Sonic and structure wise it's more of an experiment than a regular album. Almost every song is a short burst of emotions, just like a chapter of the book where the ensuing action commands entirely the composition at breakneck pace (the plot justifies it) making half of the songs sound they finish way faster than they should. As for the music itself it's a mix of influences: from Thrash Core to Tribal, Groove to Nu Metal, and even a bit of Industrial and Neo Classical this album has it all. And does a reasonable work maintaining all this different genres homogeneous in the large picture. Not an easy listening but still an acquired taste. (7/10)

Machine Messiah:
Another conceptual album (this time about a dystopia future where man is ruled by machine) Machine Messiah is delightful regarding its technical details. Plus some of the songs are utter juggernauts: I Am The Enemy, Vandal's Nest and Silent Violence are simply Death Thrash violence mixed with a bit of hardcre spice. Plus we are presented with slow paced monsters that have the density of a black hole in the form of Resistant Parasites or Sworn Oath and even a cool multi styled instrumental in Iceberg Dances. But, despite featuring a considerable amount of brilliant songs, something's off about this album an whole. Perhaps that's the slow beginning of the title track - and also the opener - or perhaps that's the fact that together they simply don't work out as a cohesive unit and that's a bit of a thing when we're talking about a conceptual record. Plus leaving the best song out as a bonus track (Chosen Skin... what a beast!) certainly doesn't help and was it to be the opener (yeah I know the lyrics would have to be changed) or even included in the album per se I would give Machine Messiah at least 1 more point. (7.5/10)

Schizophrenia:
Make no mistake: this album alone made a new thrash titan emerge from one of the least expected places in the world. And that alone speaks volumes. Leaving the black thrash influences behind (similar to what other international leaders of the genre did like Kreator and Sodom) and taking a couple of tips from the emerging death metal scene while mixing it with lots of thrash metal, Sepultura made a remarkable evolution in this record. Due to the recruiting of a more refined musician in Andreas Kisser and natural technical/ songwriting evolution the boys were able to pull one hell of an album. Songs like From The Past Comes The Storm, To The Wall, Sceptic Schizo or even the adorned instrumental The Abyss show a way more complex and musical endeavor without losing an inch of power. On the other hand Rest In Pain and Escape To The Void are themes that represent an impending risk to your cervical while headbanging. Gone were the cheesy satanic antics and lyrics as well as the amateur garage cringe feeling. And, besides the poor production, Schizophrenia showed the world they were to be taken seriously. And man... little we knew they were only getting started... (8/10)

Dante XXI:
When I was convinced by a friend to give a listen to the Divine Comedy based Dante XXI back when it came out I must confess I did it relutanctly, since I paid little to no attention to the band in 10 years (due to not identifying myself with the path Sep chose to thread during that period). So maybe that's why Dante XXI was such a punch in the chin that I never saw coming. After an eerie and intense as hell intro, the opener starts gathering up steam till it erupts in a nose dive straight into Hades and to old sepultura speedster mode. Without allowing me to catch my breath Convicted in Life makes way with no regards for human life. By now I could see where the band was going to in this album and was simply loving it: it sounded like old Sep but with multiple traits and experiments from later records. A perfect mingle between old and new Sepultura, picking the best of each era. As we enter the City Of Dis the ethnic motives come into scene for the first time in a fashion as efficient as the double bass attack that follows. False is another fast track where thrash and hardcore mingle in a really cool manner with slight nu metal itches. Ostia is a mid tempo evolving composition a la Chaos AD, featuring another innovation: the deliberated use of orchestrations while the last songs (apart from the soothing outro) are really cool uptempo brutes. To sum it up: appart from a couple of songs this record is full of enjoyable and new stuff with some glimpses of genius here and there. Was it their best album? No. But it definitely brought me to the Sepultura family again and that's something! (8.25/10)

Kairos:
During its recording the band stated this record (regarding sound and lyrics) was to be a retrospective of what the band went through during its entire career. And they weren't lying. Spectrum is a mid paced Slayer riffing stomper that works more like a welcome note to the trip we're about to take (featuring a gorgeous solo by mr. Kisser) followed by the title track that seems like the result of a crossing between Nomad and Territory. Relentless is simply amazing: thrash groove a la Chaos AD with some death metal undertones including another blistering solo and one hell of a vocal performance by Mr. Green (by the way... Kairos has my favorite vocal delivery since Chaos AD by far). Songs like Mask and Seethe are excellent fast straight up death thrashers and No Man will stand also relates a bit to them with a more hardcore feel to it. And we're also presented to dense megalithic crushers in the amazing Born Strong and Embrace The Storm, while Structure Violence is a great essay on industrial metal. Ministry's Just One Fix is also nicely "Sepulturized" but it sort of cuts the strong pace Kairos and Relentless impose (I would put it last in the playlist) and Dialog is somehow boring being the only skipable track here. By this time it was crystal clear to me: either the record sales reflected it or not, Sepultura were back. (8.5/10)

Beneath The Remains:
This was the first album I heard from these guys and what can I say that hasn't already been said? Almost nothing. So I'll just underline those achievements and add a note of my own. If Sepultura achieved what they did in Schizophrenia with little conditions, Beneath The Remains' greatness should come as no surprise. But truth be told not much people outside the underground knew the band and it left thousands with their chins at their feet. Pure Thrash with Death Metal undertones carrying a perfect equilibrium between fury, heaviness and composing wit, this record was destined to become a classic. Old fan favorites like the title track, Innerself or Mass Hypnosis earned their place justifiably so among the elite of the genre while infectious bangers like Slaves of Pain and Stronger Than Hate are also mind blowing. I only have 2 minor complaints regarding BTR. First there's a slight overuse of Slayer influences. Hey! Don´t get me wrong... it's not plagiarism by any sort but seems like SEP made their own reinterpretation (in an unique way) of some of their traits and sticked with it from the get go till the last second. And the final stretch of the album, although being really good is not as stellar as the remainder of the tracks. But those are just details that would never downgrade in a significant scale such a classic. (8.75/10)

The Mediator Between Head And Hands Must Be The Heart:
While recording The Mediator (let's call it this way for obvious reasons... I know it's a sentence taken from Metropolis but wouldn't "The Mediator Between Head And Hands" suffice? ) Sep's site released a video diary where the band and re hired producer Ross Robinson would share their impressions. Summing up all interventions there were major 2 things the band promised: this would be Sepultura's heaviest record ever made and that Eloy Casagrande's first contribution in studio recording and composing was going to be something out of this world. And man... did they stuck to their word. Trauma of War begins with a static sound a la Napalm Death's Harmony Corruption and erupts into a blistering behemoth that, from first listening, entered directly to my top 10 Sepultura songs of all time. Racing through a non speed limit modern Death-thrash lane, this brilliant opener shows us 4 traits that The Mediator carries from start to finish: a) this stuff is indeed insanely heavy without sounding dated. One can even find some early Gojira influences here and there, b) the production is loud, sludgy and noisy - too much for my taste but it has its own charm, c) Derricks voice is treated with some distortion - once again a little less gain would be ideal d) Eloy Casagrande... what the hell is that guy doing? What is this? There are no words to describe the onslaught of fury, complexity, mastery and diversity this dude's performance reaches. After an eerie intro The Vatican thrashes in at full speed revealing an 100% pure Death Metal bridge. This stuff is really unlike anything the band as ever made: dark and dense as a black hole. Impending Doom and Tsunami are slower but that seems to underline even more the heaviness the boys were sure to convey to this beast of a record. Manipulation of Tragedy sounds like something taken out of Arise that went through a severe steroid treatment. Once again Eloy is the star here displaying an infinite array of jaw breaking lines ranging from blast beats to batucada. The Bliss Of Ignorants is something that could easily fit in 1993's Chaos AD with gorgeous tribal drums and an infectious and heavy groove. Age Of The Atheist goes the same road with less effectiveness while Grief is a somber lamenting dirge. Finally Obessessed closes the record as it started: full speed and heaviness in a claustrophobic dark ambiance with the colaboration of non other than Dave Lombardo himself. As bonus we're presented with another mix of groove and sheer weight in Stagnate State of Affairs and two covers, the first a ethno rocker from Chico Science & Nação Zumbi and Death's classic Zombie Ritual (both preformed in a stellar fashion). Make no mistake: The Mediator is simply put one of the best albums of its genre recorded in this decade. Only that way it would enter my all time Sepulura podium. (9/10)

Arise:
After taking the world by surprise, Sepultura had a huge quandary on their hands: how to record an album as good as Beneath The Remains. The line to thread was really thin: on one hand a clone would surely sound forced and the probabilities to reach Beneath's impact while doing this would be slim. On the other hand the band couldn't depart too much from the thrash genre because after all they were still new comers among metal's elite numbers. The answer to this questions would be Arise. And it would be a superb and super intelligent answer that spoke volumes about these guys' abilities as composers. The title track serves as a furious introduction to the apocalyptic landscapes explored throughout the entire record. In all honesty its structure and pace are quite similar to the opening of their previous album (albeit being a bit more in your face and brief) and so, while being on hell of a tune, nothing really new. Dead Embryonic Cells follows and there are a bit more of new traits (slower tempos and more intense and worked out harmonies contrasting with traditional thrash) but it's only when Desperate Cry kicks in that Sepultura start to unveil their new weaponry. After a somber acoustic intro the song goes from something that reminds Innerself's verses to a double bassy almost death metal chorus. Then it wanders through various dissimilar ambiances that in the end fit together perfectly: It somehow finds space to insert the same acoustic intro after an uptempo thrash bridge only to burst into a strobbing triplet display, closing with a crushing Death Metal slow grinding double bass. And while songs like Murder, Subtraction and the excellent Infected Voice are more or less straight up thrashers, the remainder of the tunes continue to explore new venues while mixing it with old landscapes. Altered States' excellent prologue begins with tribal percussion , giving way to an intense rumbling entrance covered by Andreas Kisser dissonant tones (two traits that would stick forever since to Sepultura's sound) bursting into a Ministry like riffage mixed with the familiar Sepulthrash blueprint. Under Siege (Regnum Irae) recovers Desperate Cry's recipe acoustic guitar and is equally intense (those reverse echoing spoken words give this song one hell of an ambiance) while Meaningless Movements dwells in a perfect balance between Thrash, Groove and Death Metal. All in all Sepultura pumped the brakes a bit on this classic record (while having a fair share of fast songs - 4 to be more precise) but got way heavier, intense, while bringing new elements and flavors to their sound in a masterful way revealing an obsessive attention to detail and maturity almost unthinkable on a band composed by musicians that young. And these last two factors are decisive while choosing Arise as Sep's finest moment in exequo with its follower. (9.25/10)

Chaos AD:
By 1993 Sepultura while being already one of metal's big names, found metal in particular and rock music in general changing. Propelled in one hand by the Seattle scene and on the other by a new breed of surging metal tendencies, the 90's were definitely a decade that brought new sub genres to the table (normally by mixing others). Aware of themselves as they have always been, Sepultura knew they evolve their sound even more if they wanted to remain on top of the game. So no wonder Chaos AD came out to be one of the most unique metal albums ever recorded. A powerful batucada rhythm opens the hostilities and gives way to the riot entitled Refuse Resist, a simple yet brutal mid tempo grinder featuring everything to become as anthemic as it turned out to be, including a somehow hardcore vibe that would linger throughout the majority of the album. Territory kicks in and so do the tribal drumming once again. By now one can also notice a strong influence of industrial metal bands like Godflesh and Ministry, both in Kisser's dissonant tones and in the overall strongly marked pace. And by the time straight out hard core Slave New World ends, we easily come to the conclusion this is not a mere death-thrash album but something that picks traits from the said genre in equal parts with many others (some I've already alluded to) and builds an immense and heavy as hell wall of sound. Also this record is almost devoid of uptempo speedsters (with the exception of Biotech Is Godzilla), showing a preference in mowing our eardrums in a slower and yet more effective way. Plus the subjects approached are profoundly straight to earth social political, reminding the listener of humanity's chaotic nature. Amen's ambiance is simply apocalyptic while Kaiwoas is a curious venture into native Brazilian music and also a heartfelt tribute. Propaganda and Nomad outline even more Sepultura's new found identity while being as heavy as fantastic. We Who Are Not As Others works wonders as a protesting rant with a choral ensemble that assumes cinematic proportions while Manifest is dangerously close to Ministry's at its best, denouncing the Carandiru massacre. After a superbly "Sepulturized" version of The Hunt by punk veterans NMA, the album comes to a close with another dissonant megalith in the form of Clenched Fist. Chaos AD marked is without shadow of doubt a parting of waters for the band. And I'm not talking about the inevitable fact of their popularity increasing even further or obvious growth outside Death Thrash boundaries. The most important step Sepultura took was from being an excellent but yet somehow confined band that still followed certain rules imposed by the heavy weights that came before to something new, something with an unmistakable identity that would influence the birth of new sub genres and a myriad of bands. This my friends is something you can say about a diminute number of acts. And Sepulura achieved it in a masterful fashion. That's how good this record is. (9.25/10)
 
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terrell39

Ancient Mariner
Reading Max's autobiography My Bloody Roots; tons of great history and insight as well as photos
 

terrell39

Ancient Mariner
Sepultura has released several behind the scenes documentaries about the recording of the upcoming lp. While watching the one about Andreas, the following dawned on me:

Obviously as an old Sepultura fan, if I have to choose, I choose Max over Derrick. However, having finally seen them live with Derrick on the most recent tour (Machine Messiah opening for Testament), I was very impressed; he won me over. Also, let me point out that Derrick has been the singer twice as long as Max was. So for that longevity, I feel he deserves respect.
 

karljant

Ancient Mariner
Already listened to the new album in it's entirety. Mixed feelings. Really liked some songs (mainly the 1st half of the record) but there are some others that simply sound to me like weird crossover experiments. Friday I'll review it.
 

terrell39

Ancient Mariner
They played about half the Machine Messiah album live; wonder if they will do the same with the new one.

Will be interesting to see if they only play the heavier 1st half of the lp or if they throw in some of the experimental tunes live as well.
 

karljant

Ancient Mariner
Hope not... already gave it a few more spins and it's stuff that simply isn't my cup of tea by any means. Here is my song by song grading in advance:

Isolation - 9/10
Means To An End - 8.5/10
Last Time - 9/10
Capital Enslavement - 8.25/10
Ali - 8.75/10
Raging Void - 7/10
Guardians Of Earth - 8.25/10
The Pentagram - 7.75/10
Autem - 6.5/10
Agony Of Defeat - 6.25/10
Fear, Pain, Chaos, Suffering - 5/10
 
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karljant

Ancient Mariner
Sepultura - Quadra:

It's hard to believe Quadra is already Sep's 15th long play (9th since the tumultuous departure of former frontman and founding member Max Cavalera, by the way). After a period of identity crisis when the plague known as nu metal insisted to corrupt a significant number of old school metal numbers, Sepultura started to recover slowly their identity during the second half of the 2000's. Albums like Dante XXI saw the guys clawing back to their long lost thrashy roots without leaving their new found groove behind. After an experiment in A-Lex and the most similar modern album to their early 90's sound in the form of Kairos, the band was aware that they could repeat their formula under the risk of becoming a parody of themselves. Although Kairos is a pretty decent album that does not shy when compared with Chaos AD or Arise (albeit not reaching the later's accolades) it seems to be that the guys wouldn't be able to repeat that achievement. So they had to evolve. First step wast to inject new blood and an upgrade regarding playing skills in the form of Eloy Casagrande. Second movement was to expand their soundscape to other areas without losing their identity, either through borrowing a trait or two from modern death/ groove bands like Gojira in The Mediator or by becoming more Prog like like they did in Machine Messiah. So when Isolation leaked out (a straight forward thrasher in the likes of Testament and Slayer) one could only wonder if that evolving spree was about to be broken, in order to turn back the the clock even further back to the likes of an album such as Beneath The Remains.

The answer is a putative no as I witnessed while listening to the 12 tracks that compose Quadra. From the get go the band stated that the album is grouped in 4 groups of 3 songs that look alike among themselves with a own set of characteristics and similitudes enforcing the notion of Quadra (Portuguese for a composition made of 4 parts or, in another approach also relevant, a playground with a set of rules of its own). Personally I noticed little difference between songs 2 to 5 regarding sound style but still haven't bothered to wonder through the lyrical content of each to check the accuracy of such grouping. Regarding common traits I think that there are three pillars that support everything else throughout all these 4 parts: the first being groove, the second complexity and the third diversity. After the aforementioned opening track Isolation we're assaulted by Means To An End, something that seems like a beast awakening from a sleep from the Chaos AD/ Roots era mixed with prog death like intricate time signatures making way to a gigantic groove induced rhythm conduced by Eloy that takes his mastery to even an higher level. Yes... the drum parts are even more complex and amazing and serve as a platform upon which the immense complexity and groove of Quadra can flow freely. After a brief interlude Andreas fires a blistering solo, remembering everyone why he is one of the best performers in the genre in case you forgot about it. Other upgrade one can easily notice is the production. Borgern's work in Machine Messiah was nothing short of excellent but the crystal clear tones the man pulled off for this beast while not letting drop a pound of its crushing weight is simply remarkable. Back to the album, Last Time follows still featuring lots of groove but its driving force is based more in traditional Sepultura's death/ thrash meets hardcore fury mixed with that new bias to complex technical structures. Excellent track with a stellar vocal delivery by Derrick whose low growling benefits strongly with the sharp clear production of the album. Capital Enslavement greets us with orchestral and tribal elements combined exploding into what seems to be a clear revamping of the Roots era. As I said before the drumming on Quadra is off the charts and this song is a great example of that. The same works with Ali, a mid tempo crusher that rests a bit on Paulo's bass droning before it unleashes another gigantic groove section followed by a strobbing chorus. Eloy's double pedal and Green's roaring will still reverb in your head several hours after you listen to this passage, I assure you. This song is simply brutal. Raging Void is more straightforward material, a chugging stomper remembering slower stuff from the previous two records. Nevertheless the brief chorus on this one is simply strange and just throws me back to alternative acts like Nirvana or Killing Joke. Speaking of strange stuff, that's the perfect word for what this album is about to become: strange. Even stranger than Raging Void's refrain.

Guardians of Earth beginning is certainly peculiar. After an acoustic intro a choral ensemble starts building tension to explode in a monstrously dramatic tune where Sepultura mix their sound with the aforementioned elements with some guitar harmonies more common in the northern European melodic black/death metal scene creating a huge cinematic effect all over the place. To a certain degree Guardians of Earth seems like Sworn Oath meets The Vatican's intro through a Scandinavian metal filter if it was overproduced to become part of an epic movie's score. Nevertheless the result is really impressive and is remarkable how good this song sounds while being composed by such unlike parts. The Pentagram is the first of two instrumentals placed at the last stretch of the album and starts by saluting you with well known soundscapes from the Chaos AD era: Andreas' dissonance floats on top of a punching rhythmic section until things go absolutely berserk in a frenzy of different prog metal brutal onslaughts. Andreas and Eloy really raise the bar on this one and all you old schoolers will surely love this beast for its complexity and (once again) diversity.

Entering the last stretch of Quadra I must confess that this is one I reaaaaaaaaaly struggle with. Not that it is devoid of great passages but the mixing of its diverse elements seems a bit off not to mention that some of them are far from being my cup of tea. Take the example of Autem: it starts as a nu-metalish-Jump-da-fuk-up filled with the kind of hooks infamously known on the genre only to give way to a ultra heavy and complex bridge only to return to the first section in the short period of 4 minutes. The title track is an interesting acoustic guitar that clocks under 1 minute and serves as the intro to Agony Of Defeat, a song that could be easily released by Mike Patton's Faith No More during the early 90's such is the depth it plunges in alternative metal's waters. Not that it is a crappy composition but it simply sounds like the band is performing a cover version of a song totally devoid of Sepultura's footprint and that's something that doesn't convince me the least. As a closer, Quadra offers us Fear, Pain, Chaos, Suffering and if you think things could not sound stranger by now we're presented to what Chaos AD would sound like if it was performed with a female voice, added something that seems like a Lacuna Coil pre-chorus and a solo that slightly remembers something in the likes of Cynic. Confusing isn't it? Not as much as listening to it.

So In overview I must confess it's funny Sepultura divided Quadra in four parts because, although I believe that separation is completely logic, it sounds to me as something that is formed by 3 clear passages: a first one that brings a more well known Sepultura side with some boosts regarding the sound structure complexity, a second one that starts with Raging Void where the band goes a bit further into experimentation while retaining their DNA intact with great results and finally the last 3 songs plus the title track interlude where the parts seem to struggle to form a whole while resembling Sepultura very little. The first two parts are executed and composed masterfully and really grabbed me from the get go while bringing a handful of refreshing ideas to the band's sound. As for the last part while being filled with new ideas and stellar performances, I find the compositions messy and feeble while building a body of their own. Nevertheless one thing's certain the band continued the path proposed in The Mediator and Machine Messiah to never look back and that's the secret why they're still kicking serious behind after more than 35 years of some of the most hard and controversial challenges a band has to face. Strongly recommended (at least the majority of it)

8/10

High:
Isolation, Means To An End, Last Time, Ali
Low: Fear, Pain, Chaos, Suffering
 
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terrell39

Ancient Mariner
Really like the new lp but, for me, is a shame that Derrick does not sing (scream) the name of the song in half the tunes.
Makes for a bit more of a challenge to learn the songs for the live show.
 

karljant

Ancient Mariner
Idea for Quadra tour playlist
  1. Isolation
  2. Means To An End
  3. Refuse Resist
  4. Innerself
  5. Kairos
  6. Capital Enslavement
  7. Last Time
  8. Beneath The Remains
  9. Desperate Cry
  10. Ali
  11. Nomad
  12. Convicted In Life
  13. Resistant Parasites
  14. From The Past Comes The Storm
  15. Territory
  16. Troops Of Doom
_________________________________________________
  1. Trauma Of War
  2. Arise
  3. Dead Embryonic Cells
  4. Roots Bloody Roots
 
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