Posts Tagged “Extreme Death Metal”

Keith Chachkes of Ghost Cult Magazine recently conducted an interview with Max Cavalera (SOULFLY, CAVALERA CONSPIRACY, SEPULTURA). A couple of excerpts from the chat follow below.

Ghost Cult Magazine: You have come back really quickly with “Savages” following “Enslaved” last year. Why the fast turnaround between albums?

Max: It felt good to bang out another record quickly. It’s not always the goal, but it was good to write some new music right away. We like to keep it moving. We had everything planned to do a new record for the new label Nuclear Blast. The deal with Nuclear Blast came through perfectly. My son, Zyon, came in to play drums. We had Terry Date on board to do the record. And I really love what Terry did with it. He did a great job, with a raw-sounding record. And we just went for it. It was great to have all of these great fucking people on the record! I love the guest appearances the most. “Ayatollah Of Rock ‘N’ Rolla” with Neil (Fallon), “K.C.S.” with Mitch (Harris) from NAPALM DEATH, Jamie (Hanks) from I DECLARE WAR on “Fallen”, and my son Igor on “Bloodshed”. For me, “Savages” is a combination of both worlds. It has the grooviness of the first SOULFLY album and it also has that extreme death metal-sounding songs. A lot of people liked “Enslaved”, so I didn’t want to get rid of it entirely. A lot of people wanted me to go back to the killer grooves of the very first SOULFLY album. So I decided to write an album that has more of that. And I also like the songs are quite long, like six minutes, seven minutes, ten minute long songs, like “Ride The Lightning” and “Master Of Puppets”, on those old METALLICA records. The songs don’t even feel like seven minutes, to listen to them. Time just flies when you listen to it. It makes you feel good, and the songs are killer. Overall, I’m really happy with the record and I’m very stoked and I can’t wait to even play these songs live. It felt like the right record to make. Like I said, it’s a combination. “Fallen” is a perfect song, with Jamie from I DECLARE WAR. To me, it’s pretty much a death metal song. It’s got all of the elements of death metal. And “Cannibal Holocaust” is a pure thrash/grind/death metal song. But I didn’t want to make that same record again. I wanted to do something totality new. But a song like “Ayatollah of Rock ‘N’ Rolla”, it something totally new. I never did anything like that before. It starts with like this country, cowboy riff, and Neil starts talking over it and it was so killer! And of course that line in the chorus “Ayatollah of Rock ‘N’ Rolla” is from “Mad Max”. It’s probably my favorite song on the album. I don’t want to make the same record over and over. So “Savages”‘ got new things on it that no one has heard from me before, and I am really glad about that.

Ghost Cult Magazine: I think it is very difficult in music, especially in metal, to reinvent your self all the time. Do you keep that in mind from album to album?

Max: I kind of just go with it. I don’t think about that stuff. I just roll with it. If I think about it, it will make me crazy. I just make records. I don’t have a favorite one. They all fit together and they are all a part of my history. They are all a little different, which is great. I have been doing this a long time and I have a lot of records under my belt. What I am interested in is to keep going. I have a vision for my music, I see it going for a long time. We don’t have to write stupid radio songs. We write what we like, we play what we like. And the fans really connect with that. We are playing what we love. They know we are not writing stupid bubblegum, radio songs, concerned with getting played on the radio. That’s not what we’re here for. We are here for the heaviness, for the metal that we love. Because I love metal. Metal is in my veins and it is what I love. I want to keep doing this for a long-ass time. To me, this is only the beginning.

Ghost Cult Magazine: You have produced the vast majority of SOULFLY‘s albums yourself. What was it like to turn over the reigns to Terry Date?

Max: It was just the right time and the right place. Terry has been coming to SOULFLY shows forever. The last time was in Seattle with FIVE FINGER DEATH PUNCH. He came to the show and he was just hanging out. I said to him, “Man! When are we going to work together?” I kind of gave the question to him. And he said, “Just call me!” and we’ll do it. So when it came time to make the record, we called him. He gave me a great deal because he really wanted to work with me. We first met with the DEFTONES when they did “Around The Fur” I came into to do “Headup”. Terry is a really a rocker, man. He loves metal and he loves rock. He is a real professional. He has done so many amazing records, like the PANTERA records, DEFTONES, the SOUNDGARDEN records, like “Badmotorfinger”. Those are heavy records. Just classic fucking records. I was really excited and very motivated to work with him. So a lot of the writing for “Savages” had that in mind. I was thrilled that Terry was in charge of the record. I knew working with him, it had to be good. And he didn’t disappoint me. To me, it’s my favorite sound. This is the best-sounding SOULFLY record. Best guitar sound, best drum sound. Terry has done an amazing job and not to put any others down, even me, but this is the best one. The other records are good, but it doesn’t compare to Terry‘s stuff. Terry is just a master.

Read the entire interview at Ghost Cult Magazine.

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German extreme death metal band Eisregen posted a new music video for “Mutter Der Mann Mit Dem Koks Ist Da” a cover of the original Falco song. The track appears on the new compilation release “Krebskollektion” due out from the band on December 7, 2012 via Massacre Records.

The track listing for “Krebskollektion,” which contains previously released, live, covers and re-recorded material, is as follows:

CD 1:

1. Vorabend der Schlacht
2. Scharlachrotes Kleid
3. Für euch die ihr Lebt
4. Das kleine Leben
5. Abglanz vom Licht
6. Thüringen
7. Vorboten
8. Angst wird Fleisch
9. Schatten im Verstand
10. Ein Jahr im Leben des Todes

CD 2:
1. Brut
2. Mutter, der Mann mit dem Koks ist da (Falco Cover)
3. Fleischhaus 2012
4. Engelmacher
5. Scharlachrotes Kleid 2012
6. Born Dead (Death Cover)
7. Blutgeil (Live in Leipzig 2008)

Check out “Mutter, Der Mann Mit Dem Koks Ist Da” here:

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Icelandic extreme death metal act Angist has signed with Abyss Records. The band’s self-released five-track EP, “Circle of Suffering,” was made available for the first time in North America by Abyss Records this summer and was recorded, mixed & mastered by Wann at Emissary Studio. Abyss Records will release the band’s full-length debut in the near future.

Angist released their two song demo in summer 2010 and within a year they had been given the opportunity to play several high profile shows such as Iceland Airwaves and as the opening act for Heaven Shall Burn and L’esprit du Clan. Angist placed second in the Wacken Metal Battle (Icelandic log). The band then toured around France as an opening act for L’esprit du Clan in support of the EP. Live footage of the band playing “Death Incarnate” can be viewed below.

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Icelandic extreme death metal act ANGIST has signed with Abyss Records.

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Greek extreme death metal band Birth Through Gore will be unleashing its debut “Reign of Depravity” via Sevared Records. Over on YouTube you can hear one of the songs they will include on this debut release, plus you can watch “In the Brim of Decimation” below. Birth Through Gore has been streaming these tracks while they prepare for the release of the record.

The members of the band came together from the Greek bands Evade and Erectus between 2007 and 2009. John ‘Rem3dy’ Nakos from the brutal death metal band Mortal Torment, who has created art for bands such as Devourment and Prostitute Disfigurement, made the album cover for “Reign of Depravity.” Stream two more tracks from Birth Through Gore over on MySpace.

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As much as we here at AMR tend to short change or downright bash the sub-genre known as deathcore for all it’s  run of the mill crapola it tends to seep out onto the metal world, and the resulting sustainable popularity of said crapola within our community, it’s hard to deny it has had a lasting, persistent effect on metal. So, as an appreciator of metal as a whole and it’s many avenues of evolution, I have decided write up a brief origin story of the earliest two albums I could discover that could identify as modern deathcore.

First and foremost, props have to be given to Dying Fetus who are really the “Faith No More” of the deathcore movement. Their combination of modern hardcore and death metal has had a dramatic impact on the movement, to the point that they are almost revered as Gods by deathcore kiddies who sport Dying Fetus shirts much like goth kiddies did 10 years ago with the likes of Cradle of Filth. Dying Fetus is a great band, and last year’s album Descend Into Depravity was a highlight death metal album of the year, so these guys should feel honored that they have kind of become the highlight of an entire movement.

Despite Dying Fetus’ influence, I don’t think they can be classified as “deathcore”, which to me, is a complete death metal transformation of the metalcore movement with modern hardcore breakdowns, chugga chugga riffs, and downtuning. Obviously this description of deathcore is a bit basic, but this is exactly how to describe it; it’s as if some dudes playing metalcore suddenly realized that Napalm Death, Dying Fetus, Cephalic Carnage and Suffocation were cool, so much so that they began to form their core sound around the tenets set forth by these  extreme death metal greats.

The first two bands I have discovered to make this transformation, are California’s All Shall Perish and Animosity, both of whom allshallperishbandreleased their debut records in 2003. All Shall Perish released Hate.Malice.Revenge in 2003 on Amputated Vein Records, and represented one of my favorite death metal records at the time, and really, still holds up for it’s unbridled brutality and incredible gutterals courtesy of Craig Betit, who almost single handedly laid the groundwork for modern deathcore gutterals with “pig squeals” (which were prior used by underground goregrind bands to great effect) and high yielding screams. I have yet to see on the Internet a true tribute to Craig Betit and the band that really paved the way for brutal death metal combining metalcore’s primal breakdowns and rhythms.

Next up was Animosity’s Shut It Down, released only a few months after Hate.Malice.Revenge, and while it doesn’t have asanimosity_shutitdown much brutality and vocal elements as later deathcore could contain, this is most certainly one of the earliest examples of pure metalcore making the transition to a much heavier element much like Possessed did for early death metal in the 80’s.

To many modern metal fans, 2003 probably doesn’t seem like that long ago to be engaging in a retrospect, but 7 years is a long time in metal! Consider for a moment the history that transpired in metal from 1983 to 1990, that 7 years introduced thrash metal, black metal, death metal, grindcore, modern hardcore, stoner metal, etc; essentially the largest progression in metal happened in under 10 years, so really looking back 7 years ago from 2010 to 2003 is an absolute necessity for continuity sake. We, as fans, need to know where our history comes from, and deathcore, whether we love it or hate it, is a major part of that history. So as true connoisseurs of metal, do yourselves a favor and check out these albums. Do you disagree with my selections? Leave a comment!


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