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SEPULTURA Guitarist: 'Robotics Are Not Helping Us Develop Our Intellect'

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Sebastiano Mereu of From Hero To Zero recently conducted an interview with SEPULTURA guitarist Andreas Kisser. You can watch the full interview below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On how technological advances have changed the approach of musicians today versus the ’80s:

Andreas: “I think technology, especially in music, opened a lot of new possibilities for bands and musicians. You can do your whole album in your backyard of your house because of all the recording programs like Pro Tools and all the edits, everything is so quick. All of the sudden you don’t need thousands [of dollars worth of] equipment like tape, which was very expensive. Of course, the sound is always going to be a battle if technology really got to that point where you cannot really feel the difference. But we still use tape, at least to record drums, then we throw it into the computer. Vocals and guitars are overdubbed; it’s perfect like that. Album sales and everything, like downloads, it changed the whole world. For one side, it’s very negative because us artists, it’s been very hard to fight for our rights, our composer rights, which was very controlled in the past. We could filter it into a few outlets and stuff. On the other hand, there’s much more freedom, actually, to expose your art anywhere. You post something at my house in São Paulo and in 30 seconds everyone knows around the world, at least the people who are following me and know about SEPULTURA. I think [the band’s new album] ‘Machine Messiah’ talks about that. That ‘balance,’ not to lose that human ability of talking to each other and looking to each other and have a more natural relationship with nature itself. ‘Machine Messiah’ deals with that, what we see today. We travel so much around the world. We’ve been to 76 countries in 33 years, [and we’ve witnessed] every type of religion, politics, democracies, dictatorships, and we see how technology changes and how influential it is in different countries. It’s what we see today. It’s not a futuristic idea of a sci-fi movie or something. It’s what we see today. It’s great because anyone can relate to it, especially the younger [generation] because that’s where they are. We have to deal with that. I have my smart phone right here waiting. With ‘Machine Messiah’, we try to find this balance, not to lose our human ability and not give everything to robots, to robotics and expect the robots to resolve everything for us. It’s almost like a type of religion that you have a ‘messiah.’ Then we come and resolve all of your problems. You still have to be human and you still have to interact with things and know your limitations and defects in order to grow. It’s great to see, in another point about technology, to see the vinyl coming back, which is very family-oriented. [Laughs] My son still listens to vinyl and it is passing through generations. It’s a very healthy thing. People go into the vinyl shops and really spend some time there and maybe they make some new friends and talk to the guy who sells the album, create a relationship there, which is so rich. I think this is a very positive thing while everything is roboticized. Music and art, again, shows that there’s still some human feelings around.”

On musicians using backing tracks while performing live:

Andreas: “This is nothing new, actually. It depends on the purpose of everything. Just to go onstage and just dub everything, like not really singing and having that room to grow because the stage is where everything happens. We use samples to play the violins that we use on our album and some other stuff like the Hammond organ on an instrumental song. But at the same time, I put an acoustic guitar onstage and play it and have more room and interaction. Again, it’s something that you have to find a balance [with]. We’re not against robotics. It’s a fact that it’s here. It’s very helpful in many aspects and respects, but at the same time, we should be developing our intellect, our connection with nature. There’s so many frequencies and feelings that people don’t know how to put names on it. Religion comes with some options about how we should relate with those frequencies and the spirits, whatever names [they are]. [Laughs] Meditation, you have some type of a connection, not only with the people you know or your community, but a much broader connection with nature and the universe. This is something we should be developing. We would lose this division in nations, like A-to-Z, capitalism and communism, religions that are so divided. It’s like an astronaut seeing the planet third from the moon. It’s like a little ball. [Laughs] It changes your whole perspective. People here are fighting for stupid reasons. In that respect, I think robotics are not helping us to develop our own intellect. I think we should deal with that in a much more internal [manner], intrinsic, it’s something inside that we have to develop. We all have that. Somehow, technology is just trying to keep that sleeping.”

On why SEPULTURA recorded “Machine Messiah” with renowned Swedish producer Jens Borgen:

Andreas: “He’s the one we chose to work with. Derrick [Green, vocals] suggested his name because of his ability to create and to seek for the best sounds and that ability of a producer not to change too much the [sound of a] band. He worked with MOONSPELL, with KREATOR, with OPETH, with ANGRA, our friends from Brazil, and every album you see the respectful characteristics of the band and it’s very good sounding. He’s young as well; we consider ourselves still young in that respect. [Laughs] We met him on the road while touring. We were going through Sweden and near Örebro, which is the town where he lives. We had breakfast together at a truck stop and the connection there was amazing. The chemistry, he was really excited to work with us, like we were as well, to have somebody new and to see SEPULTURA and to bring new elements to SEPULTURA. We went to Sweden because all his structure is there. We recorded drums in Stockholm, then we went to Örebro to do everything: guitars, bass, vocals, the acoustics, and even violins, which was a suggestion from Jens. We needed somebody there that is like the fifth member of the band in the studio, bringing every possible idea and possibility and great energy, great sense of humor. He was so professional. It was perfect. I think the album sounds what we wanted it to sound like. I think Jens also, he’s very pleased with that mixture that we brought SEPULTURA and his abilities [together] to create ‘Machine Messiah’. It was great. That’s why we brought somebody different, to change. We did Ross Robinson, we did Andy Wallace, Steve Evetts, Scott Burns and Roy Z, so many great guys who brought amazing things to SEPULTURA. It’s like building, always trying to take this music to a different place. It’s great because it has been very well-received. We’re playing a lot of new songs in the setlist, which is something that for a long-time, we didn’t have that possibility. It’s awesome. It’s a great time for us.”

“Machine Messiah” was released on January 13 via Nuclear Blast. The disc was produced by the band and Bogren of Fascination Street Studios in Örebro, Sweden. The CD’s cover artwork was created by Filipino artist Camille Della Rosa.


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SEPULTURA Guitarist: ‘Robotics Are Not Helping Us Develop Our Intellect’
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CD Reviews

Ministry – HOPIUMFORTHEMASSES

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As we near the collapse of mankind and the imminent doom of our political system, a perfect stage has been set for the outspoken rebels to flood the airwaves with dissident upheaval bathed in musical bliss. With the end looming, no greater landscape could welcome the reemergence of the enigmatic Al Jourgensen and company with their latest release, HOPIUMFORTHEMASSES, via Nuclear Blast Records. Scheduled for a March 1st 2024 release, Uncle Al, along with guitarist Cesar Soto, Paul D’Amour, formerly of TOOL, on bass, John Bechdel on keys, Roy Mayorga (ex-STONE SOUR) on drums, and newly added guitarist Monte Pittman, form the current incarnation of the long-lived Ministry.

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This album is an open-book commentary on our American society at large, bathed in slow-burn angst and distortion injected with punk rock/thrash riffs and samples galore.

Within the opening seconds of track one, a female voice proclaims, “What was once forbidden becomes fringe, and what was once fringe becomes mainstream.” Soon Al’s vocals take over with a distorted and effect heavy declaration of “horny little boys filled with hormones and hate, waging war on women ‘’cause they can’t get a date,” thus laying the groundwork for the entire album. As “B.D.E.” (Big Dick Energy) continues, a heavy yet simplistic guitar riff drives the song forward while increasing the energy level and tempo. Al’s vocals continue with his immediate, recognizable attitude and tone, stating, “No one can justify the toxic behavior.”

“Goddamn White Trash” is perhaps the most accessible and rythematic song on the release. It has hints of the Psalm 69 days of the band. Chants of “USA, USA” ring out along side screeching guitar noise reminiscent of Mike Scaccia’s playing style.

Track three is titled “Just Stop Oil,” and it dives into yet another realm of political advocacy. Jourgensen delivers, “Dehumanization at a cellular level. Policy set by the corporate devils, There must be resistance, we cannot be silenced, There is the existence of possible violence” in a growled whisper.

On the track “Aryan Embarrassment,”  we are treated to a none-more-fitting guest appearance from what I believe is activist and Dead Kennedys front man Jello Biafra, who delivers a rap-style series of vocal lines backed by a driving rhythm. Jello wails, “How on Earth did all this happen? Plagues of militantly stupid” Followed by “Scamming on the punk scene.  Oi, oi, oi. Ain’t proud of you boys at all.”

Another standout track is “New Religion” which starts with a classic industrial riff and buries itself in the repetitive, slow-burn heaviness that has become the Ministry standard as of late. Followed by “It’s Not Pretty,” which opens as a haunting acoustic piece that I imagine being set in a post apocalyptic landscape with the reverberating lyrics “It’s not pretty. This is the end of the world to me. This is the end of society.”

“Cult of Suffering” strays from the format of the balance of the album and could be firmly placed on an Alabama 3 album, and it may feel at home on a Surgical Meth Machine release.

Rounding out the album is a little ditty called “Ricky’s Hand.” This is a synth pop throwback to the early days of Ministry and leaves us longtime fans eager to hear the longtime teased rerecording of some of the very early Ministry material. This track has a Devo, Information Society, and even Depeche Mode feel to it and is a perfect bookend to a solid release from an iconic band.

Ministry will be on tour throughout the summer with Rob Zombie, Alice Cooper and Helmet.

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Concert Reviews

Bloodywood: Concert Review Pittsburgh, PA

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In a realm of modern music overflowing with musical genres, there are few bands that possess a unique sonic force that defies categorization while leaving listeners spellbound and yearning for more. One such band is Bloodywood. They are a musical force that blends cultural heritage with a relentless fusion of metal, hip-hop, and traditional Indian rhythms.

As a band, they are carving a distinctive path and leaving an indelible mark on the modern musical landscape. Their raw energy, cultural fusion, and a fearless spirit of rebellion is a testament to the transformative power of music, transcending boundaries and uniting people from all corners of the globe. With their infectious energy and thought-provoking lyrics, the band has built an ardent following, igniting a revolution that stretches far beyond the realm of music or the shores of any country.

Born in the vibrant streets of New Delhi, India, in 2016, Bloodywood showcases their unwavering commitment to pushing boundaries, both musically and socially, as they fearlessly tackle pressing issues and ignite conversations.

The sonic odyssey of Bloodywood graced the stage of the Roxian Theater in McKees Rocks, Pennsylvania, which is nestled in the shadow of Pittsburgh only a short distance down the Ohio River from the infamous Steel City.

The show opened with a blast of energy from the British duo WARGASM, whose stage presence was undeniable. Sam Matlock, Milkie Way, and company tore through an unadulterated set of nu-metal tracks tinged with punk and electronica that included “Super Fiend”, “D.R.I.L.D.O”, and “Rage All Over”. They followed up with the video sensation “Fukstar” and wound down the set with some crowd surfing and a cover of N*E*R*D’s “Lapdance” and closed out the set with the track “Spit”.

After a brief break in the mayhem, Vended made the stage rumble to life. Their agro-metal induced a great deal of similarity to early Slipknot, and that is not surprising given that frontman Griffen Taylor is the son of Slipknot’s Corey Taylor and Simon Crahan is the son of percussionist Shawn ‘Clown’ Crahan. The band sounded tight and featured competent song composition; however, the vocalist needed to learn how to work the stage. It was as if his shoes were nailed to the floor at center stage.

As stage lighting flickered to life, the crowd prepared to be immersed in a symphony of cultural fusion, electrifying riffs, and unapologetic lyrics. We all knew that we were about to experience something quite special. As the sonic saga began, drummer Vishesh Singh sat behind his kit, awash in blue and purple lights, as the anticipation grew more intense. The intro track for “Gaddaar” echoed throughout the theater before the bombastic bass, gnarly guitar riffs, and the thump of the drums shook the walls as the entire band burst onto the stage to metaphorically say, “Ladies and gentlemen, welcome to an electrifying evening filled with raw energy enshrined in a mesmerizing tapestry of sound that defies conventions.”

The crowd began losing themselves in the pounding intensity, their bodies moving in sync with each thunderous beat as Sarthak Pahwa wailed away on his dhol. The band seamlessly migrates from the thunderous “”Gaddaar” to “BSDK.exe” from their most recent release Rakshak that couples a more hip-hop vibe on the verses with a crushing guitar rhythm from Karan Katiyar throughout the rest of the track.

Adorned in their fusion of metal attire and traditional Indian clothing, twin vocalists Jayant Bhadula (vocals and growls) and Raoul Kerr (rap vocals) commanded a powerful presence as they ran through “Aaj” with its hypnotic flute licks and downright brutal lead vocals. The five minute long song pushed the audience into heightened frenzy before slapping them across the chin with “Dana Dan”. Which had Raoul Kerr rapping/screaming “I put a fist through the face of a rapist and yeah, I taped this. For the viewing pleasure of the nameless faces he disgraces.”

Up next was the more mellow and chill track “Jee Veerey” that featured more of Karan Katiyar’s enigmatic flute playing along with a more melodic yet still intense vocal delivery from Jayant Bhadula as he sang in his native tongue.

The track “Zanjeero Se” was followed by “Machi Bhasad (Expect a Riot)” which truly showcased the rhythmic prowess of drummer Vishesh Singh and dhol master Sarthak Pahwa. It was so enthralling to watch Sarthak perform on such a simplistic instrument and to make it so vibrant and energetic. His playing transports Bloodywood’s music to a completely different level.

As the set reached its crescendo, it was obvious that the sweat-drenched band had poured their hearts and souls into every note. Wrapping up their set was the sing-along inducing “Ari Ari” that left the crowd breathless and drenched in the passion that radiated from the stage.

But… There is more. As an encore, the band jumps back in to the opening track “Gaddaar” thus cranking up the mosh-pit’s intensity to eleven, causing every person down front to expel every ounce of remaining energy from their bodies.

It was incredibly refreshing to see a band that, in some magical way is able to unite people regardless of age, background, or nationality. To see people connected by their love of the music and a band. The shared experience created an atmosphere of camaraderie and acceptance, where strangers become friends, and barriers dissolve in the face of the music.

Unfortunately, this was the last stop on Bloodywood’s North American tour, save some festival dates. Hopefully, they will be returning to the states soon. If you have the opportunity to see them live, do not sleep on it. I promise you will not be disappointed.

In the meantime you can get more info at: www.bloodywood.net/

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CD Reviews

Cattle Decapitation Terrasite Album Review

JJ Ulizio

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Terrasite by Cattle Decapitation

Today, 05/12/2023, saw the release of the 8th studio album from San Diego’s own Cattle Decapitation. The follow up to 2019s Death Atlas, Terrasite shows how a band can grow and evolve while staying true to their roots. Starting as a grind band in the late 90s and with relentless touring and continual releases this album shows them further building upon elements of their previous albums.

The album has great production. The copy I used primarily for my review is the vinyl version which is 45 RPM and it sounds great. In particular, I think the drum production is particularly well executed. A lot of times with death metal the kick drum is either too “bassy” so it’s difficult to hear or it’s the other way and you can hear all the hits without the bass tone. This album is a great balance of the two. You can hear clearly how fast drummer, Dave McGraw, is going without losing the “thump”. The blast beats alone will rattle the brain. The guitars are grimy and dirty with some blistering leads. The bass rattles while still having a solid low end. You can really hear it in songs like “Solastalgia” which has a small bass lead in it which I didn’t see coming and was pulled off great.

The vocals, I feel compelled to say that Travis Ryan has to be one of the most underrated and versatile vocalists in metal. Highs that make the ears bleed, lows that are gurgling, wet and gross sounding. Harsh singing reminiscent of 80s thrash bands, and clean singing that are almost, but not quite, reminiscent of the late Peter Steele from Type O Negative.

Lyrically they stay on brand ranging from the end of humanity, apocalyptic themes, and mistreating humans the same way humans mistreat animals. Very dark and grotesque subject matter. When asked about the lyrics to this album Ryan states “I wanted to do the 180° opposite of Death Atlas – I wanted this to take place in the daylight. I’ve always found daytime horror to be really unsettling so I wanted to make sure what was going on on the cover took place in the light of day, which also finds its place within the lyrics.”

Tracks like “A Photic Doom” showcase traditional style death metal guitar riffing, with elements of tech death and slam. “Dead End Residents” leans into some of the darker ends of thrash metal and is reminiscent of bands like Slayer. “Scourge of the Offspring” shows an impressive command of melody without sacrificing the grime that covers the album while almost coming off as anthemic.

The album closes with the ten minute epic “Just Another Body” which begins with a piano melody that would be at home in a late 70s era horror movie while building into something that’s not quite death, not quite thrash, and not quite grind. Ryan uses the full range of his voice while there are symphonics layered in the background to keep the melody from being lost while still playing with grind based riffs and blast beats.

Overall if you’re looking for a strong contender for death metal album of the year I will highly recommend this. As of this writing I haven’t been able to stop listening to it for three days now. The album currently available on all the usual streaming platforms and physical copies can be purchased here. (www.indiemerch.com/cattledecap)

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