The unicorn of the wine world is an undiscovered, low cost but high quality wine that you can pick up (easily) on the way to a convivial gathering and have people say, after the lights are low, “What the heck was that?” This wine comes very close to unicorn status when you consider the price. (more…)
With all of the unanswered questions behind Sepultura lurking in the minds of metal fans, it makes sense that Max Cavalera would launch a guided autobiography like My Bloody Roots: From Sepultura to Soulfly and Beyond. Together with metal writer Joel McIver, Cavalera pens a work that fits within the genre of rock ‘n’ roll confessional-biographies but underneath the surface, a careful hand edited this narrative into a smoothly-flowing storyline that hits the points of interest to Sepultura fans.
Since the fragmentation of Sepultura, fan rumors and lore have obscured the complex dynamic of interacting personalities that made up the Sepultura camp and led to the consequent splintering off of Soulfly and other related projects. McIver shows his prowess in debunking lore by tracing it back to its origins and exploring the context of the time, which tends to show the lore as anomalous, and then making suggestions as to what was more likely to have happened. Cavalera seems amenable to this process.
My Bloody Roots: From Sepultura to Soulfly and Beyond reads like McIver accompanied Cavalera for months asking him questions about the past and then stitched together the chaotic responses into a single line of thought. The result is both genial and informative, since with multiple choices for any data point, McIver picked the one that was most thoughtful. As a result the text tends to frequently read as a pleasant narrative that suddenly gets serious in tone and detailed when an important point arises but does not, like most rock bios, leave fundamental questions unanswered by glossing over them with a trivial acknowledgment or anecdote.
The result knits together many complex threads in a narrative that has been both shrouded in mystery and inundated in propaganda from multiple warring points of view during the later years of Cavalera’s career. McIver makes the text flow so that the whole book resembles a campfire conversation. He brings out the texture in Cavalera’s voice by allowing as much as possible of his original statements to persist but seems to have re-ordered them and edited them to make them more efficient and thus intense than your average rock interview.
I started using only four strings on my guitar right after Bestial Devastation. My B-string broke at a practice, and we had a roadie, Silvio, who ended up singing for a band called Mutilator. He said, ‘We have a bit of money left, so we can buy a new string or booze,’ and I was like, ‘Fuck the strings, I never use that one anyway, so let’s get drunk.’ He said, ‘Why don’t you take the top E-string off as well and make it four?’ and I was like, ‘Why not?’
I got used to it, and it became my trademark. I never learned to play lead guitar, and I still can’t, to this day.I could learn if I worked really hard on it, and if I just did a simple, slow solo, but I always wanted to be rhythm only. I wanted to take riff-making to a new level. (61)
From this approach comes a wealth of information about the early days of Sepultura, but it is best read in its full form without an attempt at summary here which would miss the richness of detail and character it reveals. Over half of the book focuses on the post-Sepultura years, which for those of us whose interest in this band died with Arise seems like it would be extraneous, but surprisingly was not. I started reading this like any other story and found Max Cavalera a compelling subject as presented by McIver, and was curious to see how the story fully developed. As the story of a musician trying to find his path, it was ultimately satisfying to see Cavalera achieve the commercial success he has desired for years.
While many metalheads shudder at the mention of Soulfly or Cavalera’s extensive projects after that time, My Bloody Roots: From Sepultura to Soulfly and Beyond correctly identifies the origin of this tendency in Chaos A.D. and also shows how this was the fulfillment of Cavalera’s original intent. For him, death metal was a transition toward what he liked, which was the simple roots rock and early punk in which a catchy riff and chorus made the song. Through careful storytelling, this fact emerges fully-documented by the backstory of Cavalera’s early life and musical inspirations, and changes what seems like a sinister sell-out to a quiet disagreement. Similarly, seeing the narrative leading up to the Cavalera brothers Igor and Max feuding in the post-Sepultura landscape explains many of the mysteries and lore that surround them to this day.
Although rock biography is not known for its depth and is generally assumed to be more of a public relations exercise than historical fact-based mission, My Bloody Roots: From Sepultura to Soulfly and Beyond does its best to balance the two and let Max tell the stories as he sees them, while uncovering a factual framework that puts his words in context. Thanks to some inspired interviewing and editing, it is now easy to delve into the fascinating history of the Sepultura experience and how it shaped metal.
Derided mostly by casual noticers of their cover art, Cannibal Corpse created a public face for death metal by becoming the most popular death metal band in history. Outselling the rest of the genre, they have kept on tour and pushing out albums for two and a half decades and now have unleashed their thirteenth album. Veteran music journalist and metal writer Joel McIver caught up with the band and wrote a history and explanation of Cannibal Corpse.
Intelligently, McIver opted not to try to make a narrative of his own. Instead he took a Glorious Times approach and let the band speak for itself for the most part, then knitting the disparate statements together into single narratives. The first two thirds of the book consists of statements from the band members which come across as unedited although their length suggests they were assembled from multiple interviews. The last third of the book contains a history of the band as a whole told through excerpts from interviews with the band, managers and other members of the underground community. The entire book is interspersed with song lyrics with brief explanations from the band. As a result, this book becomes easily readable and very personal, avoiding the pitfalls of trying to become overly formal or over-analytical with a band that does not want to be taken overly seriously.
In our twenties, we weren’t thinking too seriously about this stuff. Chris wrote the lyrics and we gave him free rein to be as offensive and disturbing as he thought necessary. Nowadays we probably think a little more about the subject matter of our songs, and the end result can be lyrics that are still horrifying but less overtly offensive. I think that sometimes a more subtle approach can be more effective for horror fiction anyway—‘subtle’ being a very relative term in our case, maybe the difference between a hatchet to the genitals and a hatchet to the head. But that’s what our band is doing really: putting horror fiction to music. We don’t back what the characters in our songs are doing: they’re just evil characters who are appropriate for stories like these. – Alex Webster (121-122)
If the book has a theme, it can be found in the normalcy of Cannibal Corpse. The band member biographies detail their early interest in heavy metal, then in musicianship, and their desire to be part of the new movement of harder and heavier music coming out after Metallica and later, after the first nascent death metal. They mention the classics of proto-underground metal like Sodom and Slayer, but focus on not the extremity of lyrics but the music itself. These men wanted to make music that did what their musical heroes did, but took it to a new level of intensity. They also wanted to have a sense of humor about it. And, going back to their earliest influences, they found idols who had also made it big on a commercial level: the 1970s hard rock and heavy metal acts that shocked the uptight citizenry but delighted mischievous and alienated kids everywhere. The comedic lyrics of torture, sadism, butchery, gore and mass killing arise not from a fascination with the dark and morbid, but a joy in disturbing social pretense that has more in common with Kiss or Judas Priest on the big stage, gyrating away as church ladies gasped.
When assembling the narrative of the band, McIver stacked statements from band members in such a way to tell the narrative through its strongest voices, inserting summaries of major events so that the least specific material is told from a third-person perspective. This gives more space to the band to speak about their own intentions and analysis, which enables this book to move along at a fast pace and never wind down into the kind of rambling anecdotes that blighted rock journalism in the 1970s and 1980s. As a result, it is both a short book and complete in its recounting of the Cannibal Corpse story. Through skillful editing, McIver avoids having the history drag or become tangential, and with the voices of the band members he brings up every essential topic in short, readable fashion. We also hear from band members and crucial actors like label boss Brian Slagel whose voices are not normally heard in the telling of this history.
In my downtime, I shoot guns. I’ve been interested in them since I was a kid. It’s the other thing I’m interested in apart from guitars, and it’s a great way to let off aggression. I go to ranges and shoot targets. Playing loud music is another good way to release stress. I like to go to the gym and work out, and I like to go out and drink and have fun with my buddies. Luckily, I’ve always been able to go anywhere and make friends. I live day by day. I would never have guessed that I’d still be doing this after all this time… — Pat O’Brien (46)
In the history of metal, Cannibal Corpse: Bible of Butchery will be remembered as a book that started a debate instead of ended one. Most analysis of Cannibal Corpse so far has focused on the reactions of others and has been unable to get around the disturbing imagery and lyrics. By mixing lyrics with histories, and looking at the motivation of band members for personal and artistic goals instead of reading the band as an advocate of what is described in its lyrics, Cannibal Corpse: Bible of Butchery reveals the commonality of Cannibal Corpse with heavy metal bands since the dawning of the genre. Instead of serving as a kind of unpaid advocate for serial killers everywhere, this band acted as a continuation of the heavy metal tradition of upsetting parents and delighting kids. By getting past the elephant in the outsider viewpoint room, McIver shows us Cannibal Corpse as they are, and lets their story tell itself and reveal the undiscovered history behind what for most people is the public face of death metal.
For a short book that you can finish in an afternoon, Extreme Metal by Joel McIver packs a great density of information of unusual breadth into this deceptively simple volume. Comprised of brief introductions and then combination profile, history and review of the major works of each band, this book applies a flexible strategy to information and dishes out more on the more important bands but refuses to leave out essential minor ones.
McIver released two versions of this book: an original (2000) and this update (2005). With each edition, the book gains more factual information and the writing kicks it up a notch. I first read Extreme Metal I shortly after it came out in a bookstore and noted how some of the writing was boxy and distant, but how (thankfully) it did not drop into the hipster habit of insider lingo and extensive pointless imagery. In Extreme Metal II, McIver writes according to the journalistic standards of the broader media and skips over the conventions of music journalism and especially metal journalism which are less stringent. If there is an Extreme Metal III, the language will be even more streamlined and relaxed.
A good book on metal includes not only information but interpretations; all books filter by what their authors think is important, and one of the strengths of Extreme Metal is its ability to zoom in on not just the larger bands but a number of smaller ones that contributed to the growth of the genre. With each of these bands, McIver presents the information as relevant to a metal fan interested in learning the genre but also in hearing the best of its music. After an introduction by Mille Petrozza of Kreator, Extreme Metal launches into a brief history and afterward is essentially band profiles in alphabetical order. McIver includes all of the big names that one must include especially in any book that wishes to have commercial success, but devotes a fair amount of time to focus on the underground and the odd details that complete its story. He displays a canny instinct for rooting out the important, even if obscure, and relating it to the progress of the genre as a whole.
Written in a conversational but professional style, the book unloads a large amount of information with a low amount of stress and reads much like an extended magazine article covering the growth of the extreme metal genres. Depending on what sub-genres a listener enjoys, parts of the book will be skimmed, much as some Hessians glaze over whenever anything related to nu-metal emerges. McIver displays the instincts of a metal listener and refuses to sugar-coat his opinions, but does not drift into the trendy internet sweetness-and-acid diatribes that afflict those who rage at the excesses of the underground. Instead, the book assumes that its readers are open-minded enough to listen to any good heavy metal and tries to dig out the best of it, even if those standards need to expand when nu-metal or metalcore float by.
Massacra was a French ‘neo-classical death metal’ band and was formed in 1986. Three demos landed them a deal with Shark Records from Germany and later, the major label Phonogram. However, the band was put on hold in 1997 when a founding member, Fred Duval, died of skin cancer at only 29. Some members of the band formed an industrial band, Zero Tolerance, and released an album on the Active label.
Recommended Album:Final Holocaust (Shark, 1990)
Among the truckloads of paper published since Lords of Chaos convinced the industry that money could be made in books about underground metal, Extreme Metal distinguishes itself by being open-minded and yet straight to the point. Most books pass over perceived minor bands like Massacra, Autumn Leaves and Onslaught, but this book fits them into context and explains their relevance in a way that is both enjoyable and informative. While major bands like Metallica will always get more coverage, here McIver works to tie his write-ups of those bands in with traits of other bands who both helped make that success happen and carried it forward.
McIver has gone on to write other books including a best-seller about Metallica, a biography of Max Cavalera of Sepultura, retrospectives of Motorhead and Black Sabbath, a band history of Cannibal Corpse and most recently, a book about alternative band Rage Against the Machine. He demonstrates comfort at every level of above-ground and underground bands, but his instinct as a fan makes him a writer worth reading as he tears through metal, sorting the entropy from the growth. While one can write about underground metal to any depth, Extreme Metal strikes the right balance of information and expediency and produces an excellent first step for any fan or researcher looking into these sub-genres of heavy metal.
To those who have watched metal for some time, it presents a paradox. To the public, it seems like a railroad, where a line of cars stops and then we see what is in each, one at a time. To an experienced watcher, it more resembles an ocean, with currents swirling below and influenced by air above, and periodically the crest of a wave emerges before being dragged down by the rest, obliterated and recycled.
One of the warmer undercurrents in the metal ocean is “true metal,” which is that which stays true to the solid line of evolution leading from metal’s origin. As part of this movement, bands across the globe are continuing to make music that we associate with earlier decades, except that it’s newly created and generated from a contemporary impulse if not contemporary influences. Cruxiter, a Texas heavy metal/guitar rock band, is part of this movement.
We first reviewed Cruxiter’s self-titled first album in these pages a few scant weeks ago, but already the band’s spirit and dedication to its style have piqued interest with our worldwide readership. To go more in-depth, we interrogated vocalist Joe Gonzalez at length via a very modern iPhone yet with classic heavy metal spirit.
You formerly played in Hammer Whore, a death metally band. What prompted the switch to a heavy metal style versus a death metal one?
HammerWhore was a big mix of a lot of metal genres; because each band member comes from different eras and has their own taste in metal music we had to compromise and we created an album that contained a bit from every sub genre. In 2007 HammerWhore broke up because of personal differences, so I kept some of the songs I wrote and started a new band that was more hard rock/heavy metal. In 2009 Miggy Ramirez and Rick Ortiz joined the band and this is really when we started to develop our sound. Then in 2010 we had personnel issues again losing our bassist, drummer, and guitar player. This is when we recruited the rest of the old HammerWhore line up to help us out. The “switch” to heavy metal just came naturally after spitting from HammerWhore and working with such a great group of musicians. I’m doing exactly what I’ve always wanted to do, and that’s sing in and front a heavy metal band!
What is the Cruxiter? Is it a concept underlying all of your work?
The Cruxiter is a fictional alien computer that works through touch, connecting to the users nervous system and to the mind. The thing is, it doesn’t quite work with human biology and drives anyone who attempts to use it insane, but the Cruxiter is only a small part of the Cruxiter universe. It’s one of the few artifacts that we have here on earth from the faraway alien planet that is the subject of most of our music. So far we have not made contact with these extraterrestrials on our first album. First contact will be made on “Madness of the Void,” a track that will be released on our next full length. A look at this faraway world is probably similar to seeing ourselves in the distant future where technological advances have only made life more complicated with longer life spans and more inventive ways to kill each other.
This is a two part question: (a) what are your influences, musical and otherwise, in Cruxiter? (b) what bands do you think sound closest to Cruxiter?
I cannot speak for the rest of the band because each of us is very different when it come to the style of music we listen to. But for me it’s a combination of classic AOR, NWOBHM, eighties thrash and early seventies prog. Styx, Judas Priest, Lizzy Borden, Torch, Agent Steel, and Overkill were some of the first bands to really get me excited to pick up a guitar and sing. Really every time I hear a metal vocalist hit a high note or a guitar lead it really gets me going. As far as individual artists its Jon Oliva, Tommy Shaw & Dennis DeYoung, David Byron & Mick Box, Schmier, Tom Angelripper, Don Dokken, and Joey Tempest are all on the top of a very long list of talent that inspires me to play music.
The second part of your question is very hard to answer because we are trying to create something different but not straying from what we love. In my personal opinion I would say it’s a mix between early King Diamond, early 90s Mercyful fate, Uriah Heep, Stryper, Judas Priest, Di’Anno era Maiden. We still have a lot of material that we are working on that I think is more advanced and widens the spectrum even more.
Do you think the “true metal” genres like classic heavy metal and old school death metal and black metal are making a return? Or did death metal and black metal get lost in the shuffle?
“Making a return” destroys the true metal genres and spawns craploads of bands that really don’t know where the music comes from, then they make everyone look cheesy and people move on, which has already happened to thrash metal twice. All true metal genres have and always will thrive in the local and underground scenes. What genre is “in” at any given time is determined by what the “cool kids” are listening to, It’s very political, and it will never change.
Cruxiter is a classic heavy metal band, but you incorporate a lot of elements from what I’m calling “guitar rock.” How hard is it to combine the two?
It’s actually pretty accurate for some parts of our music because we are very heavily influenced by progressive music and classic rock but we really try hard to mix it up and make the music we write contain all aspects of rock and metal music. With the tempo changes and melodies of classic prog, guitar riffing from rock and metal, and AOR style choruses, even trying to add a bit of glam to it all.
But each song we write is different and has its own massage so it’s hard for me to explain it all without breaking down each song. Combining all these styles of music happens during the writing process… letting the song pretty much write itself, and allowing the changes to happen. It’s the vocals and solos that are dominant, and take full control during the writing of the music. We do work hard on the proper flow of the song making sure it’s chaotic and complex, keeps the listeners attention, and is pleasant to the ears. We also try to keep the music from being too heavy and noisy, down tuning and excessive kick drum is great for other bands but we like our listeners to hear without trouble how the guitars, vocals, drums, and bass interact musically.
You’ve just released your first and self-titled album. How did you record it, and where? What were the biggest challenges of recording?
We recorded this album at our home studio in a ranch house in Jim Wells County just outside Alice, Texas. Every aspect of recording was a challenge since we really had no experience. I had to watch all kinds of how to videos on YouTube about mic’ing vocals, drums and guitar cabinets, it was a lot of trial and error. The best part of recording was reworking the songs after playback adding harmonies, fills, and leads. But we learned a lot from recording this album and we are currently in the studio again and everything is running smoothly. Our next album is going to sound a lot better for sure and we are pretty excited about it.
If you had to identify the most important element in what makes a good song, what might it be? Do you think it’s energy, passion, emotion, content or some combination of the above?
A great song perfectly portrays a complex clash of emotions of a single moment in time with the appropriate energy pulsing and fluctuating between emotional highs and lows. It also needs guitar and vocal melodies that engrave themselves into the mind and the message and words find a spot to reside in listeners mind. Honesty goes along way when it come to reaching people through music.
What’s next for Cruxiter? Are you going to do small tours through Texas cities, or record more, or go national?
Right now, we are back in the studio recording new music for a second album. Now that we have some experience it should move very smoothly and we will get an even better product. We should be releasing a few demo songs on YouTube and maybe a short demo tape soon. They will not be the album versions of the songs just demos before fine tuning the structure, vocal melodies, and fills. We have already released “Under The Moon” demo on YouTube.
We will probably not be playing very many shows this year since we will be trying to complete our work in the studio. But we are playing in Houston February 8th at the White Swan for our good friend Angel’s B-day (bassist for Owl Witch). It’s going to be a really killer show. Houston is the top place to play metal music in Texas the scene has always been very strong and diverse. I’m alway excited to play in Houston.
Are there any challenges to being a metal band in Texas, with the local scenes being what they are and the distances between towns often being great?
It is pretty hard here in Texas especially since we don’t live anywhere near any of the major city. Corpus Christi is closest but they have no local metal scene and what’s hitting there now is grind and crust which is great but we don’t fit the bill. It’s a struggle for us to be a part of the scene in texas since we are so far and can’t participate in playing or attending shows very often. Playing gigs always means travel for us but its just part of the gig. Texas as a whole is full of die hard metal heads and familiar faces friends that will be playing music and supporting local shows till they die.
The classic film portrayal of Bret Easton Ellis’s viciously dark novel American psycho has an incredibly open-ended ending that ultimately leaves the film’s conclusion up to the viewers. Chronicling the growing insanity of Christian Bale’s outstanding Patrick Bateman character, the film never makes a firm establishment of how real any of what we were seeing actually was. After eluding what seemed like certain doom in the form of confessing a massive killing spree to his lawyer, Bateman himself wonders if his murders really did happen.
This leaves the opportunity to make a case for three different theories:
Bateman committed none of the murders, all of them happened inside of his mind.
Bateman committed some of the murders, but hallucinated the others.
Bateman committed all of the murders.
My belief was always the least popular of these three theories, but before I elaborate let’s take a moment to examine the other two.