Sepultura Albums (15)
What The Critics Say
Never let it be said that Sepultura are not ambitious. A-Lex is a concept album whose lyrics were inspired by Anthony Burgess' book A Clockwork Orange, which was the basis for the Stanley Kubrick film. And the impressive thing is that Sepultura pull this off without sounding either geeky or pretentious. For all its intellect, this early-2009 release doesn't sacrifice anything when it comes to intensity; this is a vicious, loud sledgehammer of an album, and the kids in the mosh pit will have no problem connecting with alternative metal scorchers like "Filthy Rot," "The Treatment," "Paradox," and "Forceful Behavior" on a gut level. The Clockwork Orange angle is intriguing if one has either read Burgess' book or seen Kubrick's 1971 film, but for metalheads, the bottom line is that Sepultura have no problem bringing the noise -- and Derrick Green's angry lead vocals are an important part of A-Lex's intensity. There was a time when the idea of Sepultura recording without Max Cavalera (their former lead singer) seemed unthinkable; Cavalera played a vital role on pre-Green albums such as 1991's Arise and 1993's Chaos A.D. But the incendiary Green turned out to be a fine replacement after Cavalera left Sepultura to form Soulfly in 1996, and he certainly helps bassist Paulo Jr., guitarist Andreas Kisser, and drummer Jean Dolabella get the job done nicely on A-Lex. Paulo, it should be noted, is the only remaining member of Sepultura's original 1984 lineup. Personnel changes can have a very negative effect on a band, but Sepultura have maintained their vitality all these years -- and that vitality is alive and well on the superb A-Lex. ~ Alex Henderson, All Music Guide
'No Coracao Dos Deuses'
Release Date 11/27/2006
Tracks 14
Label Mascot
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What The Critics Say
When Max Cavalera left Sepultura in 1997, fans figured that some of the group's metallic fury would be lost. But this certainly proved not to be the case, as the "Derrick Green version" of the group continued to churn out such angst-filled releases as Against, Nation, and Roorback. On their fourth studio set with Green, 2006's Dante XXI, the group continues to bring the rage. While it's not the same groundbreaking work as their last few albums with Cavalera were -- Chaos A.D. and Roots -- much of the elements that made Sepultura stand out from the metal pack are still present. Andreas Kisser's penchant for penning rubbery/elastic riffs is still a main focus for the group (why Kisser remains one of metal's most overlooked guitarists remains a mystery), as evidenced by such tracks as "False" and "Buried Words," while Sepultura's desire to visit new musical avenues is evident by "Ostia," which introduces strings to the group's sound. And from a lyrical standpoint, Sepultura continues to be one of the more challenging metal bands on the scene, as Green has looked to The Divine Comedy by Italian poet/philosopher Dante Alighieri for inspiration. Overall, Dante XXI is easily one of Sepultura's strongest releases to feature Green on vocals. ~ Greg Prato, All Music Guide
'Live in São Paulo'
Release Date 11/8/2005
Tracks 21
Label Steamhammer
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What The Critics Say
As far as heaviness and intensity go, Sepultura were one of the top live metal bands of the late '80s/early '90s, during their Max Cavalera era. But with singer Derrick Green a member of Sepultura for nearly ten years by 2005, the time was right to document what the latter era of Sepultura could do on-stage, as evidenced by Live in São Paulo. The double-disc set includes selections from throughout the Brazilian metal band's career, while Sepultura gives a metal makeover to a few interesting covers from non-metal bands: Public Enemy's "Black Steel in the Hour of Chaos" and U2's "Bullet the Blue Sky." Elsewhere, you can't go wrong with power-packed versions of the Sepultura classics "Refuse/Resist," "Territory," "Biotech Is Godzilla," "Dead Embryonic Cells," a set-closing rendition of "Roots Bloody Roots," and such latter-day tracks as "Choke" and "Apes of God." As evidenced by Live in São Paulo, Sepultura can still unleash the fury on-stage. ~ Greg Prato, All Music Guide
What The Critics Say
Losing a lead singer can be incredibly disruptive for a band. Some bands will bounce back -- AC/DC, for example, sounded better than ever when it hired Brian Johnson after Bon Scott's untimely death -- while others will suffer a creative decline. Sepultura experienced a major loss when former lead singer Max Cavalera left to form Soulfly in 1996, but thankfully, Derrick Green proved to be a highly capable replacement. If 1998's mildly uneven Against -- Sepultura's first album with Green -- found the band struggling with the transition, Green was filling Cavalera's shoes much more confidently on 2001's Nation. And if there are still any lingering doubts about the Green/Sepultura match, 2003's excellent Roorback should put them to rest for good. Green is passionate and focused throughout the album -- he has no problem going that extra mile -- and the writing is consistently strong. Unrest and political corruption are recurring themes on Roorback; American singer Green and his Brazilian colleagues spare no anger on incendiary tracks like "Mind War," "Apes of God," and the crushing opener, "Come Back Alive" (which is about surviving the horrors of wartime combat). The songs that Sepultura wrote for Roorback paint a consistently bleak and troubling picture of the world -- one that is only reinforced by an unlikely remake of U2's "Bullet the Blue Sky" appended to the album. Sepultura successfully give U2's gem a ferocious alternative metal makeover, and Bono's dark lyrics are right at home on this politically charged CD. When Roorback came out during the summer of 2003, Sepultura had been together for 19 years -- and this compelling disc finds them very much on top of their game after almost two decades in the metal field. ~ Alex Henderson, All Music Guide
What The Critics Say
This Brazil/Japan-only EP from São Paulo's toughest metal band includes eight "Sepulturyzed" versions of songs from artists as disparate as U2, Devo, and Public Enemy. While heavy, thrash-influenced cover versions of well-known material might have become camp in lesser hands (and is a bit of a cliché in the metal genre), the veterans in Sepultura treat the songs as seriously as they do their own. This envelops the EP with a visceral quality that the songs' individual resonance can't shake, forbidding most of the material to exist simply as snarky heavy metal cover songs. Sepultura applies a chokehold from note one of Hellhammer's "Messiah," and doesn't take its knee off the listener's chest until the brutal death throes of Exodus' "Piranha." In between, the foreboding slow-motion groove of Massive Attack's "Angel" is replicated without remorse, vocalist Derrick Green's bloodcurdling growl replacing the spacy flow of Horace Andy on the original. The contributions of DJ Gonzales and Brazilian rapper Sabotage on "Black Steel in the Hour of Chaos" save what would have been a decent, yet toothless cover of the Public Enemy classic, but the band fails with a listless take on Jane's Addiction's "Mountain Song." Fortunately, this is the only real low point. Devo's "Mongoloid" is cheap and easy fun, while Green and the band tear and snap at U2's cynical, apocalyptic "Bullet the Blue Sky" with jaws that would swallow Bono whole. Concluding Revolusongs is a throwaway bonus track marrying "Enter Sandman"'s riff with the lockstep thrash of "Fight Fire With Fire" from Ride the Lightning. It's unclear whether its inclusion is a nod to Metallica's Garage Days Re-Revisited or simply a studio gag. But with Sepultura still recovering from Max Cavalera's departure, Revolusongs is definitely a chance for Green to get a vocal workout while continuing to ingratiate himself with what's left of the band's fan base. ~ Johnny Loftus, All Music Guide
'Under a Pale Grey Sky'
Release Date 9/24/2002
Tracks 28
Label Roadrunner
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What The Critics Say
To combat the sales backlash that began when Derrick Green took singer/guitarist Max Cavalera's spot in the group, Roadrunner Records released the live document Under a Pale Grey Sky. Recorded in the very short period between the death of his stepson and his exit from the group, Cavalera's performance is nothing short of breathtaking. His venomous roar has rarely sounded this raw and heartfelt, he screams with a fury that comes deep from within, and he delivers a performance that pulls the listener uncomfortably close. Guitarist Andreas Kisser is also in fine form, offering an eerie, melodic counterpoint to Cavalera's pounding riffs. One only needs to look to "Endangered Species" to see why the two guitarists were a masterful pairing, with Kisser pasting blistering and shrill leads over Cavalera's abrasive chug in a tense battle of aggression. The track selection may leave a little to be desired; while they take most of the songs from Chaos A.D. and Roots, they barely cover their catalog before that point. What is here is awesome, but it would have been nice to hear "Inquisition Symphony" or "Under Seige" as performed by the group (arguably) at its peak. Toward the end of the performance, the band is strikingly lucid, launching into its two most distinct and awe-inspiring tracks with the last of its energies. First, the acoustic jam "Kaiowas" is a brilliant display of technical skill that showcases the beauty and joy the band finds in its native Brazilian music. Then comes the true monster, "Ratamahatta," a percussion-based masterpiece that plows over the audience with its tribal throb and cathartic build. A massive cover of Motörhead's "Orgasmatron" puts an end to the proceedings and satisfies the encore desires of the audience, but it is a brief coda to an otherwise brutal show. The band was on top of its game professionally and deeply wounded emotionally, making its music as sharp and poignant as it has ever been. Where most live metal albums tend to come off thin and sloppy, Under a Pale Grey Sky does the opposite. Through crystal-clear production, an airtight performance, and a top-notch selection of songs, the album paints a picture of a larger-than-life band throwing its massive bulk around for two hours of sheer hatred. And really, what else would any self-respecting metal fan want out of a live album? ~ Bradley Torreano, All Music Guide
What The Critics Say
A quote from the Dalia Lama, "Peace on earth depends on the peace in the people's hearts," and wise words from Mother Teresa, Ghandi, and Albert Einstein grace the album booklet of Sepultura's 2001 release, Nation. When Sepultura's vocalist Derrick Green screams long and hard enough, you bet your sweet, tender eardrums that he's got something important to say. On its 2001 release, Nation, the Brazilian quartet is infuriated -- and with good reason. As Green scrapes the lining of his vocal chords through the brash, impassioned tracks, he's singing about more than just "one nation, Sepulnation"; he's suggesting something bigger, something worth shouting about and fighting for. Nation was created to epitomize Sepultura's concept of creating a new nation built upon the foundations of unity and a utopian society that thrives without violence or guns. In interviews, Green has said, "Every song will be related to the idea of building this nation. We will have our own flags, our own anthem." Leave it to Sepultura to break down the walls and build something beautiful out of the rubble. Indeed, each song meets these expectations in a series of hard-rockin', tight tunes. Drummer Igor Cavalera's timing and tempo couldn't be more perfect as the adrenaline heightens until the album's intensity burns right through the speakers. Die-hard Sepultura fans will likely salivate over skull-crushing tracks like "Who Must Die?," and when Green sings "you are our livestock/we make you love it" on the creepy anticorruption song "Politricks," Sepultura virgins will be speechless. The album explodes with the final track, "Valtio," an instrumental piece (complete with violins) that sounds more like the score to a war movie, with the innocent lying in waste in the dust. Trust that Nation is far more real and way scarier than when your mean older brother used to lock you in the closet and play Prokofiev's "Peter and the Wolf," but it's well worth the ride. ~ Kerry L. Smith, All Music Guide
What The Critics Say
It was generally assumed among most that without guitarist/vocalist Max Cavalera, Sepultura would choose not to carry on, but the remaining members added vocalist Derrick Green (who often sounds much like Cavalera) and recorded Against. The results are much better than one might expect from a band that's lost its leader, as Andreas Kisser, Paulo Jr., and Igor Cavalera prove they're no slouches themselves. But the problem with Against is that it seems to lack a clear vision or direction; the band seems unsure of whether to return to the controlled, hard-hitting brevity of Chaos A.D. or the epic, experimental sprawl of Roots. And while the group's trademark ethnic fusions are present -- most notably the Japanese-flavored instrumental "Kamaitachi" (featuring the percussion troupe Kodo and some lovely flute) and the violin-centered "T3rcermillennium," two of the album's most intriguing tracks -- some of the songs don't really experiment much at all. As a result, the fusions sometimes sound forced, and some songs are too standard a brand of hardcore-tinged thrash'n'bash to match the highest points of the Sepultura catalog, even with Jason Newsted co-writing and playing on the track "Hatred Aside." So all in all, Against finds the band regrouping and struggling to recalibrate itself, which is to be expected given the circumstances; even if it's somewhat disappointing compared to the group's best work, it's much better than one might hope, and there are enough flashes of the old Sepultura brilliance to suggest that great things are still to come. ~ Steve Huey, All Music Guide
'Beneath the Remains'
Release Date 1/27/1998
Tracks 12
Label Roadrunner
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What The Critics Say
Sepultura's 1989 release, Beneath the Remains, marked the band's transition from third-world obscurity to major contenders in the international extreme metal arena. As soon as the deceptively gentle acoustic intro gives way to the title track's thrashing brutality, the listener is propelled at maximum speed and intensity through to the very last crunch of "Primitive Future." In between, Sepultura offer their first bona fide hits with "Inner Self" and the inspired "Stronger Than Hate," featuring lyrics written by Atheist's Kelly Shaefer. It's not over there as they charge ahead with the triple threat of "Mass Hypnosis," "Sarcastic Existence," and "Slaves of Pain," all of which feature mind-blowing solos from guitarist Andreas Kisser, thunderous double-bass work from drummer Igor Cavalera, and the furious howling of singer Max Cavalera. The complete absence of filler here makes this one of the most essential death/thrash metal albums of all time. ~ Eduardo Rivadavia, All Music Guide
