Something Borrowed: "The Hunt," Sepultura/New Model Army

It's been a while since I’ve done one of these, but I hit this song in my shuffle today and had to crank it up.

I’ll admit when Sepultura’s Chaos A.D. came out in 1993, I wasn’t very familiar with punk band New Model Army and didn’t know at first that this was a cover. But I loved it from the first play of the record.

Saturday Shuffle: Alice in Chains, Warrel Dane, Grand Magus, Sebastian Bach, Sepultura

A pretty heavy lineup this week, though we do at least hit five different subgenres ...


Alice in Chains, “Frogs.” From the album Alice in Chains (1995). For some reason, Alice in Chains’ 1995 self-titled album never seems to really get its due. It produced its hits, but wasn’t quite as straightforward, perhaps, as Dirt or Facelift. This dark, moody number is a perfect example of that with a quirky melody and Layne Staley delivering the end of each verse line in a lilting, high tone. Not my favorite song from the record, but good stuff nonetheless.

Saturday Shuffle: Headcat, Monster Magnet, Cult, Sepultura, Tom Keifer

A litle bit of new stuff, a little bit of old stuff, and a metal legend delivering an unusual performance.

Headcat, “The Eagle Flies on Friday.” From the album Walk the Walk … Talk the Talk (2011). Lemmy does the blues? You bet, and he does it well. The gruff voice of the Motorhead frontman takes on a smoother, quieter tone for this basic 12-bar blues tune, and it works. Danny Harvey’s tasteful guitar licks add to the mood, and it’s a favorite from this record.

Something Borrowed: "Bullet the Blue Sky," Sepultura/U2

There are a couple of reasons I shouldn’t like this song.

First, it’s a cover of my favorite U2 number, and while I’m not a huge U2 fan, covers of my favorite songs by other bands generally don’t work for me – with a few notable exceptions, this being one.

Second, I’m not a big fan of the more hardcore-oriented Derrick Green version of Sepultura that arose after the departure of Max Cavalera.

Saturday Shuffle: Toxic Heart, Lazarus A.D., Sepultura, Blackberry Smoke, ZZ Top

Another Saturday, another shuffle.

“Rebirth,” Lazarus A.D. From the album The Onslaught (2009). I remember that this debut album from Lazarus A.D., an aggressive, Exodus-influenced brand of thrash really excited me. I thought we might finally have a band from the new wave of the style that could play with the originals. The follow-up, sadly, was quite disappointing.

Review: Sepultura, "Kairos"

I’ve had the same problem with the last few Sepultura records. They all struck me as pretty good albums straight out of the box, but after a few weeks I put them away, and most of them haven’t gotten any play since that initial listening period.

This is the second record with guitarist Andreas Kisser now, more or less, fully in control of the band’s sound, but if you’re expecting the future direction of the band to be established here, you shouldn’t. Instead, Kairos leads us on a trip back through time to various eras of the band from the chugging thrash of the Arise/Chaos A.D. era to the hardcore influence of the first couple of Derrick Green outings, to the more concepty stuff they’ve done with their last albums. Perhaps it’s an intentional move, given that the theme of this record is something about the passage of time, but you’ll find a song or two that represents almost all of the band’s various incarnations.

Review: Cavalera Conspiracy, "Blunt Force Trauma"

If you’ve followed the career of Max Cavalera, you won’t likely be surprised by what you hear on Cavalera Conspiracy’s latest outing, Blunt Force Trauma. It’s the same blend of Sepultura-style thrash and groove metal he’s delivered since leaving Sepultura, minus the world music influence. His second reunion with brother and drummer Igor Cavalera is, perhaps, a bit more refined and a bit less ugly than 2008’s Inflikted, but it’s no less powerful. In fact, the variety on Blunt Force Trauma, including a slightly surprising twist or two, just might make it a better record.

Review: Nekromantheon, "Divinity of Death"

The name, logo, album cover and Norweigian origin all say extreme metal, but the music on Nekromantheon’s Divinity of Death is pure candy to the ears of classic thrash fans.

Nekromantheon blazes through 11 tracks in about 30 minutes sounding like the bastard child of Show No Mercy-era Slayer and very early Sepultura. The songs are short, fast, punchy and very solidly played. They don’t cover any new ground in the thrash genre, but at the same time they also manage to sound fresh and not derivative.

Review: Soulfly, "Omen"

When Sepultura and Max Cavalera parted ways in 1996, fans were the ones who got the shaft. Instead of the thrash powerhouse we’d had up to that point, we got two mediocre acts that, while both having their moments, never came close to delivering anything with the power of Arise or Chaos A.D.

Over the course of his past several records with Soulfly, though, Cavalera has slowly started to change that.

Review: Soulfly - "Conquer"

One of the most anticipated records of the year for me was Cavalera Conspiracy, reuniting Sepultura vocalist/guitarist Max Cavalera and drummer Igor Cavalera. Though it’s been eclipsed in my mind by records released since, it was an outstanding effort, and I thought it would be tough for Max’s other band, Soulfly, to compete. So I find myself a little surprised with how much I’m enjoying this record.

No, Cavalera doesn’t try to reinvent the band in any way. Most of what you’ll hear here you’ve also heard on previous Soulfly releases. Take for example, the second track, “Unleash,” which reintroduces the tribal sounds and rhythms. Sure, we’ve heard it before, but it’s still really good. That’s kind of what I’d say about the whole record.

One of the big differences between this record and the Cavalera Conspiracy record is in the guitar work. This record is loaded down with big, memorable guitar riffs that stand out in your memory after the record is over. The loping opening riff of “Warmageddon” and the bouncing, squealing riff of “Doom” stand out. After a nice movie soundtrack opening, “Blood, Fire, War, Hate” also gets the album started off on a good note with a nice riff.

The best tunes on this record, though take a slightly different path. Cavalera has long experimented with world music on Soulfly records. Sometimes it’s worked, sometimes it hasn’t. When it does, it’s great, as on the opening of “For Those About to Rot,” where we get an unexpected blast of almost Primus-like sound to open, a nice, chunky bass line and then world music sounds scattered throughout. The best track on the record, “Touching the Void,” however, delves back into metal history, drawing inspiration from Sabbath for the slowest, yet most interesting song. The breakdown section here is spectacular, plodding, heavy and just catchy as hell.

The record also ends on a high note with the instrumental “Soulfly VI.” I’m normally not a fan of instrumental intros and outros, and there’s nothing particularly heavy about it, but there is something strangely calming and soothing, particularly after the violence of the previous tracks. It’s a good song to chill out with.

Cavalera continues to have some lyrical challenges. Yelling “scream motherfucker” five or six times doesn’t really constitute a chorus in my book, but lyrics have never been his strong suit and after this long, it’s tough to ding him for it.

Musically, this is a solid record, perhaps one of the best in Soulfly’s catalog. Certainly it contains some of the more memorable tunes they’ve done, and it just comes off as a little tighter and more cohesive than the earlier Cavalera Conspiracy release. Perhaps that record was a little more rushed, or maybe it will take a little time for the songwriting chemistry to return after the years apart. Whatever the reason, I’m surprised to say that I actually think Conquer is the better record. Both are well worth having in your collection, though.

Get "Conquer" (standard version).

Get "Conquer" (CD and DVD version).

Review: Cavalera Conspiracy, "Inflikted"

I can't deny that I've been waiting on this record for a long time. I was lucky enough to have a chance to see Sepultura live before they split with singer/guitarist Max Cavalera, and they destroyed the stage. Shortly thereafter, Max left amid some ugliness, and the band released a series of mediocre records that never really held my interest (even those that I initially liked, like 2006's "Dante XXI"). Meanwhile, Max took the sound of the band's more commercial "Roots" and made it even more accessible in Soulfly. While I admit I liked a lot of the Soulfly offerings, and they had a great live show, they don't stand up to the best Sepultura work at all.

Finally, though, Max Cavalera and his brother Igor have buried the hatchet and teamed up for this debut release from Cavalera Conspiracy. And finally, I've got the Sepultura record (pay no attention to the name on the cover, this is a Sepultura record) that we should have gotten after "Chaos A.D."

My favorite version of Sepultura was the middle version. While the early, more death-influenced stuff isn't bad, and the tribal sounds of "Roots" are OK, it's the groove-based thrash of "Arise" and "Chaos A.D." that made me a fan. On "Inflikted," the brothers Cavalera deliver a sound that's somewhere between that head-on thrash of "Chaos A.D." and the tribal grooves of "Roots" or Soulfly. It's a potent mixture. It opens with the title track, which might make you believe this will be a Soulfly record with Igor Cavalera on drums, but that changes with the pounding "Sanctuary," which introduces a return to the more aggressive Sepultura style, but also features a nice breakdown for Soulfly fans.

Certainly there are moments here that won't appeal to the unbending fans that hated "Roots" and Soulfly -- you know, the crowd that likes to throw the term sell-out around. There are undeniably some more commercial moments here than you would have ever found on one of those early Sepultura records, but then there are songs like "Hex" which digs even farther back for an "Arise," maybe even getting into "Beneath the Remains" territory a little, or the punk-influenced burner "Nevertrust." I happen to like a good groove, though, and this record has some great ones. The *gasp* hooks of songs like "Ultra-Violent" and "Bloodbrawl" and the screaming, bouncing riff of "Must Kill" will be with you long after you've finished listening.

"Inflikted" offers a perfect balance between heaviness and grooving melodies. It features songs that are hummable in one moment and bash your skull in the next. The tribal elements that colored "Roots" and Soulfly's sound are still there in places, but they're played down, putting the focus on a straight ahead metallic sound. It's a welcome return of a band that I've been missing for a good long while.

Hear a sample of "Sanctuary."

Get "Inflikted."

Interview: Max Cavalera

Soulfly's Max Cavalera has gone through quite a transformation over the past decade and a half.

The Brazilian-born vocalist and guitarist began his career in the mid-1980s in the thrash outfit Sepultura. By the time he split with them in 1996 to form his current band, he had fallen in love with the native instruments and sounds of his homeland and begun to integrate them into his music.

"In the beginning, Sepultura was a cheap imitation of Slayer and Venom," Cavalera says. "You can only do that so long before it becomes obvious that you're a follower. When Sepultura started finding our own sound, we became leaders. That's what I want to do with Soulfly. We don't want to follow anyone else's path."

Cavalera says Soulfly's tribal sound and spiritual themes are unique in the world of metal. His journey down the new path began when he bought a berimbau almost a decade ago in Brazil. The instrument, which resembles a bow-and-arrow with a coconut attached to it, became a regular part of his live performances.

"It's very primitive, very unique sounding," Cavalera says. "I started playing them and adding them to my music, and the next thing I knew it became a trademark."

The sound also stems from Cavalera's love of percussion and tribal drumbeats. For the band's three albums, he's recruited percussionists who have worked with jazz and reggae greats like Sergio Mendes and Bob Marley. The drums have also become a highlight of the live show, with a drum jam that often features guests from other bands Soulfly tours with. Currently, drummer Dave Lombardo, of legendary thrash band Slayer, joins the jam.

"If you've never seen Soulfly, you're going to be blown away at that moment of the show," Cavalera says. "There are no guitars; there are no vocals. We let the drums do the talking, and it's very powerful."

The current Soulfly tour with Slayer is in support of their latest album, simply titled "3." It blends the aggressive metal of their self-titled debut with the more melodic sounds of their second album "Primitive." Cavalera, who also makes his debut as a producer on "3," says the mix wasn't intentional, but he's happy with the way it turned out.

"That's just the chemistry of Soulfly," he says. "We decided to let those two things come together, so the mix of melodic and heavy goes hand-in-hand throughout the album. I think, in a way, that's the power of the Soulfly music. It's the chemistry we've found in the band."

But there are also some quieter moments on the album that have much more to do with Cavalera's spiritual journey and the music of his homeland than with metal. He says he listens to a variety of music and wants to offer a bit of that to his fans.

"There are things on a Soulfly album that you won't hear anywhere else," he says. "You won't hear it on a Limp Bizkit album; you won't hear it on a Papa Roach album. The world music, tribal music mixed with guitars is strictly Soulfly. I'm glad the fans understand and actually enjoy the tribal music, and I'm happy to be able to do it for them."

Arguably the moment that speaks loudest on this album, though, doesn't feature any music at all. Sandwiched between two of the most aggressive songs on the album is the track "9-11-01," Cavalera's tribute to the victims of last September's terrorist attacks. When other artists are trying to put their feelings into words, Cavalera, who has made his home in the United States for more than a decade, instead opted for 60 seconds of complete silence.

"I wanted to put the sorrow of the victims and their families in a way that no one has put it before," he says. "I saw many artists do shows and benefits or write songs about it. I decided to do the opposite - to not talk about it at all, but let the minute of silence be louder than a thousand words."

Though Cavalera is pleased with the new album, he considers his music a spiritual experience - one that can best be appreciated live.

"You've got to be there in body because there's something that happens," he says. "It's a mystic force that works through the music, and you have to physically be there and be touched by the music live. No other way will you feel Soulfly's impact."

From spirituality to perseverance, Soulfly's music carries a lot of messages, but Cavalera says the biggest one - and the one he most wants fans to understand - is strength.

"If you don't have strength, what can you do?" he says. "There's a spiritual strength behind Soulfly's music. It's the strength to keep up against all odds, no matter what. It's important to believe and have strength."