Probably due to the bitterly cold December weather, the Academy 2 is already full to bursting by the time opening act Healing Magic hit their stride. Featuring a Cavalera who prefers to spell his name correctly, the Arizona based band are fronted by Max‘s youngest son Igor, and kick off the evening with some Black Sabbath inspired riffery which unsurprisingly goes down well in the home of metal. Continue reading
Soulfly, on the cusp of releasing their new album later this week, Ritual, on October 19 via Nuclear Blast. Now the band has announced new headline tour dates for early 2019, with labelmates Kataklysm. Other support will come from Incite, Chaoseum, Alukah, and Skinflint. Soulfly will also perform a special exclusive set at 70000 Tons of Metal Cruise, where Max And Igor Cavalera will perform their final “Return To Roots” show, celebrating their classic album Roots (Roadrunner) from 1996. Continue reading
A documentary about the history of Sepultura from its humble beginnings through today, will see release this fall on DVD and Blu-ray. Sepultura Endurance had its world premiere in May 2017 at the Regent theater in Los Angeles and now will see a wide release. Directed by Otávio Juliano, the doc is packed with archival footage, live performances, and interviews from the band and many of their peers in metal. Watch the trailer below! Continue reading
Where do I fucking start with Psychosis (Napalm) the new album from Cavalera Conspiracy and hands down, cards on table and ear holes suitably blasted away possibly the best thing either brother has done since Roots (Roadrunner)? Not to demean the album in any way, but it feels like the band has reached back into their collective back catalogues and meshed all of their sounds and ideas together to create a “Greatest Moments Of…..” and package them inside brand new songs. Continue reading
Max Cavalera recently told FaygoluversHeaven that he is currently working on the new Cavalera Conspiracy record with his brother Igor. The legendary front man went on to say, “it’s gonna be a beast of an album. We’re gonna try to make the best one of all, and make just an awesome, in-your-face great record.”
“In 1993 I saw Cathedral open for Mercyful Fate in Minneapolis, shortly after the release of their brilliant The Ethereal Mirror album. I was a massive Cathedral fan. Years earlier, in high school, I hand painted their logo on the back of a jacket and wore it daily. I painted the lyrics to ‘Serpent Eve’ down the sleeve of the jacket. Like I said I was a massive fan. Of course I wore this jacket to the gig.
As I walked in the venue, I noticed Lee Dorian hanging around in front. I approached him, showed him the jacket and he agreed to autograph it. We talked nearly for an hour about Cathedral, Napalm Death, about my loves and aspirations, and about the differences between America and the UK.
After Lee left to prepare I walked around the venue and saw Phil Anselmo at the bar. I had no idea why he was there and became even more confused when I realized he was talking with Igor and Max Cavalera of Sepultura. A few months previous to this show I had moved from small town Montana to Minneapolis and this was all quite a shock. I was 18, in the city for the first time and it was also one of my first metal concerts. I was star struck and enthralled.
I then approached Igor and he told me about the album they were releasing soon called Chaos A.D. I was truly amazed at how nice Igor and Lee were and at how honest and open our conversations were as well.
Cathedral played an amazing set and dedicated ‘Soul Sacrifice’ and ‘Ebony Tears’ to me. The overwhelming kindness shown by the bands solidified even further my love for the genre and influenced how I treat fans today.”
Best known for his work as the bassist of Agalloch, Jason Walton’s Self-Spiller project has just seen a reissue of his ambitious Worms in the Keys album on vinyl from Varia Records. Catch Jason on tour with Agalloch all summer.
Recently wrapping up six weeks of touring Cavalera Conspiracy and Death Angel criss-crossed the USA on a long tour. Both bands brought the heavy to thrash fans across the country. Joining them on the tour was Corrosion of Conformity BLIND, on their first national tour ever, and Lody Kong. Lody Kong of course counts amongst its ranks Zyon and Igor Cavalera, sons of headliner Max. The young upstarts with the metal royalty in their bloodline don’t flinch in fear of tough crowds or early stage times. COC BLIND features Corrosion of Conformity drummer Reed Mullen and singer Karl Agell (King Hitter/Leadfoot) play songs of the Blind (Columbia) album. Many of these tracks haven’t been played in concert since the tour following the album in 1991. Death Angel is still touring behind The Dream Call For Blood (Nuclear Blast) and has a new concert DVD on the way soon. They are one of the best live bands in thrash or any other genre of metal. Lastly Cavalera Conspiracy takes the stage, Max and his brother Igor (MIXHELL), reunited and thrashing just as they are meant to do together. The set list on this night included songs from the two CC albums, obligatory Sepultura hits such as ‘Territory’ and ‘Biotech is Godzilla’, a tribal drum off with a little kid from the crowd, and even a Nailbomb jam. Shot at the Hawthorne Theater by Curtiss Dunlap Photography, this was quite the entertaining night of metal!
Max Cavalera may be more prominently known for his work with Sepultura and more recently Soulfly, but his musical endeavours don’t end there. After a falling out with his brother, Igor Cavalera while still playing in Sepultura, the forming of Cavalera Conspiracy 7 years ago marked their reunion not only personally but also musically. After a three-year break, the brothers return this year with their latest studio album, Pandemonium (Napalm).
Throwing away the older out-and-out groove thrash sound that has marked a large portion of their career, this is distinctly darker. ‘Babylonian Pandemonium’ is a sinister opening, as a low drum echoes over a deep cascade of chanting and dissonant sounds setting the tone before Pandemonium descends into a thrash based cacophony of ideas. The album moves through the usual metal styles, but with hints of more electronic influences surfacing at the edges of the songs. Vocals take a deep menacing sound for this record which is perhaps the most noticeable difference from previous work. Moving back to a more guttural style not heard for a long time, the production drenches this in reverb creating a huge sound that compliments the tribal influences that occasionally creep into the tracks.
Despite the development in sound, the album is really let down by its predictability. Each song takes on an identical structure, starting with riffing, throwing in a solo in the appropriate place and Max shouting the title of the song over and over in the chorus. While this works well for a few songs, 12 tracks later it has become more than a little stale.
Pandemonium may not break much new ground and it doesn’t touch the quality of the work that launched their careers, but it doesn’t really need to as it’s still an enjoyable album that cuts right to the heart of the Brazilian thrashers style.
Max Cavalera. His name is synonymous with the modern metal era. Do I even need to write about the impact Max has made on the metal scene the last 25-plus years? If you don’t know at least half the story, you might as well turn your metal card in right now. The foundation he laid down as the mastermind of Sepultura during their legendary rise to prominence may never be repeated, simply because the music business has changed so much since the 80s. As a member of one of the most ground-breaking bands as there ever has been in metal, the impact Max has made on several sub-genres, not to mention creating a few himself. It’s undeniable. Along the way he’s had many well-documented highs and lows personally and professionally. It is a very interesting prospect when a very famous person, who has had many battles in the public eye, writes their autobiography. Max to his word, has chosen to tell his life story so far from a very humble and honest perspective, not glossing over his mistakes, or over inflating his triumphs as he takes the reader on the journey of his life in and out of metal.
Starting with his childhood and early life, My Bloody Roots from Sepultura to Soulfly and Beyond (Jawbone Press) tells Max’s life story and humble beginnings. He goes into great detail how he and his brother Igor had very happy childhood in Bello Horizonte, Brazil, and some of the funny things he’s gotten into. Max’s father was a big influence on his life, always promoting a love of family and music which clearly has guided his entire being all these years. The loss of his father has stayed with Max and also colored a lot of his experiences as grown man too. Past childhood, we are taken to the teenage Cavalera’s home life and how they gravitated to metal and punk rock simultaneously. Focusing their energies together, Max and Igor’s raw style musically helped turn them into a creative powerhouse they would become., innovating screaming and playing in metal. Writing a truly unvarnished account about his rise to fame and the many mistakes that he made along the way with alcohol and drugs on occasion, coupled with is sense of reckless abandon, you have to be impressed with the candor put forth by Max and venerable music journalist Joel McIver. It’s definitely a warts and all account.
We are regaled with some amazing stories, such as Max getting baptized in a church tomb under the Vatican as a young boy, to running afoul of Lemmy a few times, to other musical highlights such as earning Gold records (when they counted) and headlining major music festivals around the world. The path to Sepultura wasn’t a straight one, and even he marvels at some of the things that were achieved in their heyday of the late 80s and early 90s. One surprising thing about the book is the attention to paid to his anguished split from Sepultura in late 1996. He openly talks about the events leading to the rift (possibly it was coming for some time) and the painful betrayal he felt. However, much of this story has been told over and over, and certain details seem glossed over and omitted on purpose, and it’s totally a good thing. There’s no real revelatory moment here, and this reviewer appreciates it. This is also possibly owed to the fact of Max reuniting with Igor the last few years and not wanting to fully revisit that time, open up old wounds. Especially with all that business behind them. When so much bad blood has been spilled in public over the years, it’s likely for the best.
While the loss of father and namesake Massimiliano shaped his youth, the tragic death’s of his stepson Dana Wells and his grandson Moses, instead of filling him with bitterness, were events that hurt tragically, but pulled his family together. The Max Cavalera story is really his family history. Along with his wife Gloria, who Max considers his rock; they are all a very tight-knit unit with a lot of love and music around all the time. The way he was raised is the way he is now as a husband, father and grandfather. Mostly My Bloody Roots is a love letter to his home land Brazil and a toast to an explored life. Touring with his many bands, and exploring other cultures and world music to incorporate into his own his time off, this give him the fuel for life that he needs.