ДРУГИ АРТИКУЛИ НА SEPULTURA:
Album: "SCHIZOPHRENIA REMASTERED (CD)"
- Re-release version incl. 3 bonus tracks [!]
- МЕГА РАЗПРОДАЖБА!! ВАЖИ ДО ИЗЧЕРПВАНЕ НА ОПРЕДЕЛЕНИТЕ КОЛИЧЕСТВА!!
14.00 лв. (BGN)
Cat. No.: WIZ00004118
Genre: Old Skull/ Melodic Death Metal
Статус: Наличен / In Stock
SEPULTURA rank as the undisputed leaders of Brazilian bands on the international Rock scene. Created in Belo Horizonte during 1983, SEPULTURA's initial albums were timed perfectly to benefit from the Thrash explosion of the early 80's. Although the act's early albums were far from sensational the fact that the band more than looked the part allied to their professed influences of British Punk and American Metal stood them in good stead until the breakthrough 'Arise' album.
The band took on typical Death Metal nom de guerres for the early part of their career, Max Cavalera being known as "Max Possessed", Jairo Guedez calling himself "Tormentor", Igor Cavalera as "Igor Skull Crusher" and Paulo Xisto Pinto Junior known as "Destructor". Driven by pure enthusiasm, the poverty stricken teenagers being straight out of school, SEPULTURA was motivated by unfashionable European Thrash and US death Metal. Having delivered their first concert at the Barroliche Club in Belo Horizonte in 1984, during which Igor Cavalera's "drum kit" comprised a woeful snare drum, floor tom and one cymbal, SEPULTURA was on their way. Paulo Jr. was inducted for a gig at the Santa Teresa Ideal Clube in March 1985, the world first learned of SEPULTURA later that year when they shared vinyl on a split album, 'Bestial Devastation' through local record store Cogumelo Records, shared with another local outfit OVERDOSE's 'Seculo XX' sessions.
These songs had been committed to an 8 track recorder at JG Studios in Belo Horizonte that August, self-produced by the band with engineer Joao Guimaraes manning the desk. Opening with a lycanthropic slurred growl billed as ‘The Curse’, SEPULTURA’s debut would have proven remarkable if launched in Europe or Scandinavia. Hellishly raw, as dictated by their youth and inexperience, ‘Bestial Devastation’ offered primal Death Metal with, arguably, the world’s very first example of the now famed blast beat drum technique in the track ‘Antichrist’. Despite the studio restrictions, Max Cavalera’s guttural rasp neutered by an extreme degree of echo and guitars completely out of tune, 'Bestial Devastation' would certainly stand the test of time.
Reported domestic sales of some 15,000 copies were deemed a success and both bands were offered an extension on the contract. A full length album then ensued, 'Morbid Visions', arriving in 1986. Eduardo Santos and Ze "Heavy" Luiz now guided the teens in the confines of Estudio Vice Versa, Belo Horizonte. Given seven days space in which to work, SEPULTURA drew from both extreme spectrums of Death Metal and Thrash Metal. Again the production values were haphazardly sloppy and the influences worn plainly, making the whole edict contrived yet honest, but the ferocity summoned up could not be denied. Still very much an underground act, SEPULTURA's inaugural US release came courtesy of New Renaissance Records, the imprint owned by HELLION's Ann Boleyn issuing 'Morbid Visions' the following year.
Jairo Guedez was superseded following 'Morbid Visions' by erstwhile PRESILENCE man Andreas Kisser. Impressing sufficiently by an audition process jamming out KREATOR and DESTRUCTION songs, the new guitarist first stepped onstage with the band in May 1987 in Caruaru, Pernambuco. Jairo would at first announce he no longer had any interest in Metal but emerged in 1989 as a member of Thrashers THE MIST for the 'Phantasmagoria' album. The band had other SEPULTURA connections with vocalist Vladimir Korg, previously with CHAKAL, credited for the lyrics to SEPULTURA's 'To The Wall' and bassist Marcelo Diaz being a SEPULTURA roadie. Kisser had risen through the ranks of local amateur Metal bands such as SPHINX, an outfit that took on covers by acts such as SLAYER andJUDAS PRIEST before injecting original material and retitling themselves PESTILENCE.
Utilising JG Studios once again in August 1987 SEPULTURA, together with engineer Tasro Senra, crafted the 'Schizophrenia' album. The album title was apt indeed, SEPULTURA laying down a deluge of riffage culminating in the titanic 'From The Past Comes The Storm', this leviathan writhing through multiple tempo changes and a volley of riffs that many acts would have difficulty conjuring up in an entire career. Adding a little colour to the Thrash barrage would be violinist Paolo Gordo and keyboard player Henrique of POLISO ALTO. Shark Records took on the German license.
Enthusiastic supporters Borivoj Krgin and Don Kaye, US based journalists, arranged meeting between Max Cavalera and record labels in New York. Having disguised himself as a Pan Am employee in order to make the flight from Brazil, Max Cavalera arrived in North America armed with a bag full of 'Schizophrenia' cassettes. After numerous rejections, Monte Connor at Roadrunner Records took a chance on the band.
September 1989's 'Beneath The Remains' signalled the first move away from the standard Thrash fare. Laid down in nine overnight sessions in December 1988 at Nas Nuvens Studio, Rio de Janiero the end result was mixed in Florida by Scott Burns. Importantly, international exposure affected the band's overall sound, this being particularly felt in the lyrical department, which had been up to this juncture often imbued with some degree of hilarity due to poor command of English. Lyrics to 'Stronger Than Hate' would be contributed by ATHEIST's Kelly Shaefer, the man, alongside OBITUARY's John Tardy plus Scott Latour and Francis Howard of INCUBUS, also donating backing vocals. As a true entrance onto the global scene, Roadrunner Records now distributing the band's product into the USA, 'Beyond The Remains' was a mighty introduction, a caustic Thrashfest viewed by many as the creative pinnacle of their career to date.
The band's first taste of international live work came in September 1989, opening for SODOM in Vienna, Austria before tackling gigs in the USA, headlining the East Coast with FAITH OR FEAR as support, and Mexico. Their biggest concert to date was held on June 4th 1990 in front of 26,000 at the Dutch Dynamo festival, here meeting SACRED REICH manager Gloria Bujnowski who then took on the Brazilians business affairs. SEPULTURA had become national heroes in Brazil putting in a worthy performance at the January 1991 'Rock In Rio' festival sharing the same stage at the Maracana stadium in front of 50,000 fans with major league international acts GUNS N' ROSES, JUDAS PRIEST and MEGADETH. To commemorate this occasion an unprecedented decision was taken to rush release a limited edition rough mix version of their forthcoming album 'Arise', now a hugely collectable item. The band subsequently played a free outdoor concert in Sao Paulo in the Charles Muller Square drawing over 40,000 fans. Tragically an audience member was murdered, this event tarnishing the band's name in Brazil amongst authorities.
It was to be 'Arise', released in March 1991 with cover artwork, depicting the mutated Yog-Sothoth, from noted Sci-Fi artist Michael Whelan, took SEPULTURA into new realms of creativity. Also new on the visual front would be the now world famous bone 'S' logo, executed by old friend Bozo, singer of OVERDOSE. The band had extricated itself from the familiar run of the mill Thrash acts to create a quite unique album, travelling to Tampa, Florida to record at the fabled Morrisound Recording with Scott Burns at the helm. Spin off singles included 'Third World Chaos', 'Under Siege' and 'Dead Embryonic Cells'.
By now the act's raucous live shows were also beginning to build a solid fanbase. UK headline shows in June saw SACRED REICH as strong support act and, spreading their reach, the group also put in shows in Australia and Indonesia, playing to over 100,000 fans at just two concerts. SEPULTURA played a brace of concerts in Mexico during December 1991 supported by MAKINA and TRANSMETAL. With interest rising in Europe, Germany's Shark Records re-packaged 'Morbid Visions' as a split album shared with METAL CONQUEST. Roadrunner Records also re-issued 'Schizophrenia', re-mastering the entire set and adding a newly recorded version of 'Troops Of Doom' for good measure.
On 1st March 1992 the band, complete with Andreas Kisser sporting retaining rods in a broken arm, put in a pre-European tour "secret" gig at the small Amersham Arms pub in London billed as THIRD WORLD POSSE. The group also figured on the landmark BLACK SABBATH reunion gigs at Costa Mesa, California on November 14th and 15th.
September 1993's 'Chaos A.D.' saw SEPULTURA stripping down their sound to Punk basics, gearing down into proto-Groove Metal. The band's lyrical stance now became far more openly political, even to such an extent as collaborating with Jello Biafra of DEAD KENNEDYS on the 1:52 minute speed-burst of 'Biotech Is Godzilla'm and faithfully covering NEW MODEL ARMY's 'The Hunt'. Other poignant statements fuelled 'Kaiowas', an acoustic lament for a native tribe that committed mass suicide, and 'Manifest', the latter concerning a police massacre at the Pavilhao Nove prison in Sгo Paulo. Versions of 'Chaos A.D.' also came with a bonus track, 'Polнcia', originally by TITГS.
America too was now coming under the SEPULTURA spell and 'Chaos A.D.', a truly landmark album backed by singles ‘Territory’, with a promotional video shot in Israel, 'Refuse/Resist' and 'Slave New World', broke the Billboard charts. UK shows in December saw Halifax's PARADISE LOST as opening act. Live strategies took SEPULTURA to even further destinations such as Russia.
In 1994 Max Cavalera and FUDGE TUNNEL's Alex Newport developed NAILBOMB as a parallel project. The resulting 'Point Blank' album saw participation from Andreas Kisser, Igor Cavalera and FEAR FACTORY's Dino Cazares.
This alliance segued into the SEPULTURA game plan as demos for the 'Roots' album were recorded by Alex Newport. SEPULTURA then took the brave step of recording tracks deep in the Brazilian jungle with the Xavante indians. The resulting album, issued in February 1996, took the band's aesthetic into totally new areas of operation as they offered the Rock world an album of unrelenting Metal infused with their own cultural heritage and ethnicity. 'Roots', closing out with an unlisted 13 minute epic 'Canyon Jam', proved to be their biggest seller to date going top 5 in Britain. SEPULTURA channeled their ferocity away from inventive riffing and into slabbed chords, such as 'Dictatorshit', 'Endangered Species' and the street anthem 'Roots Bloody Roots' would be punctuated by native drumming passages 'Jasco', 'Itsбri' and the pounding 'Ratamahatta'. The digipack option was boosted by 'Chaos B.C.', the BLACK SABBATH cover 'Symptom Of The Universe', which was previously available on October 1994's 'Nativity In Black' tribute record, and a live take of 'Kaiowas'. Another elaborate wooden box package included a video, necklace and even candles.
With 'Roots' having carved its position as one of the most important metal releases, SEPULTURA were now at the top of their game. However, in late 1996 fans and media were shocked to learn of Max Cavalera's sudden departure. Max would front SEPULTURA for the last time on December 16th 1996 at the London Brixton Academy. Cavalera returned to the fore in quick fashion, touting new combo SOULFLY, not only taking producer Ross Robinson and manager Gloria Bujnowski with him but also retaining his Roadrunner deal and recruiting former SEPULTURA roadie Marcello D. Rapp on bass guitar.
2. From The Past Comes The Storms
3. To The Wall
4. Escape From The Void
5. Inquisition Symphony
6. Screams Behind The Shadows
7. Septic Schizo
8. The Abyss
9. RIP (Rest In Peace)
10. Troops Of Doom
11. The Past Reborns The Storms [demo version] - bonus track
12. Septic Schizo [rough mix] - bonus track
13. To The Wall [rough mix] - bonus track
Max Cavalera (vocals)
Andreas Kisser (guitar)
Paulo Jr. (bass)
Igor Cavalera (drums)