Brazilian black/death/speed metal pioneers Vulcano are about to tour Europe to celebrate the thirtieth anniversary of the release of the bestial Bloody Vengeance. They will of course be playing their most well-known record in its entirety along with later material too. European fans should avail themselves of this rare opportunity to see the band on the continent.
Roadmaster Booking agency is proud to announce the commemorative tour of 30 years of the classic album ‘Bloody Vengeance’ from the Brazilian legend Vulcano. The band will play the record in its entirety, as well as songs from their latest releases.
Zhema, guitarist from Vulcano says:
“We are looking forward to this fifth European tour and ready to give 110% in every show, because our fans mean a lot to us and we really appreciated their support. We promise to do the best in every show and the fans – that’s why we are still going strong after all these years. Let’s play in full the Bloody Vengeance album, and songs from the the last three releases.”
Greyhaze Records is set to unearth Bloody Vengeance, the 1986 full-length debut from Brazilian death metal pioneers Vulcano. Formed in 1980, Vulcano is thought to be the first band from Brazil, and possibly South America, to play extreme metal. An early influence for the likes of Sepultura and Sarcófago, Vulcano’s primal blend of black, thrash and death metal sparked a flame that quickly spread across the mid-80s underground metal community.
Bloody Vengeance is being reintroduced to a new generation of metalheads. Fully remastered and restored, the album is accompanied by a DVD that features a live performance from the 1986 Festival Da Morte. Greyhaze Records will reissue this cult classic as a six-panel digipak CD/DVD on May 18.
Vulcano will celebrate the reissue at this year’s Maryland Deathfest. The MDF set will be the band’s first-ever live performance on American soil. With no other U.S. dates in the works, MDF XIII looks to be the only chance to experience the madness that is Vulcano north of the equator.
BRAZILIAN LEGENDS VULCANO will return to Europe once more with a full European tour. The UK-leg will be supported by compatriots Necroriser. Scythian and Sepuku have been announced as supports for the London date, whilst Maw has been confirmed for Birmingham. The Exeter show is also set to be an all-dayer.
April 19th, Thu – Glasgow, Scotland @ The Classic Grand
April 20th, Fri – Birmingham, England @ The Birmingham Ballroom
April 21st, Sat – London, England @ The Underworld
April 22nd, Sun – Exeter, England @ The Cavern
April 26th, Thu – Copenhagen, Denmark @ Spillestedet Stengade
April 29th, Sun – Stockholm, Sweden @ Göta Källare
May 03rd, Thu – Nordrhein-Westfalen, Germany @ venue TBA
May 04th, Fri – Berlin, Germany @ K17
May 05th, Sat – Oostrozebeke, Belgium @ Sküll Sessions III
May 08th, Tue – Rennes, France @ Mondo Bizarro
May 12th, Sat – Saint-Maurice, Switzerland @ Le Manoir
Brazilian black metal band Mystifier outed themselves as avowed socialists, black supremacists, and evolution deniers in an unpublished interview from 1999 posted years ago to the Nuclear War Now! forum by the interviewer Werwolf.
War metal was born when worship of Blasphemy, Zyklon-B, Sarcofago, Impaled Nazarene and Beherit merged with the newly-simplified post-Nordic black metal, but many of us noted that Blasphemy and Sarcofago in particular had more in common with their punk and grind ancestors than black metal as it evolved. Trench Warfare cuts to the roots of war metal by making grindcore with metal rhythms and intensity, and by breaking out of the stop-start patterns of most war metal produce an unrelenting assault that bears down with the intensity of full-bore death metal.
Perversion Warfare consists of three tracks which build high-energy primitive riffing in the Blasphemy style and expand to more traditional grindcore and death metal forms, commenting on the riff that forms the bulk of each song with a series of complementary and oppositional motifs that keep the momentum rolling through rhythm and pattern. Layered on this are urgent martial drums that comment extensively on the change in material, sort of like Destroyer 666 given a technical tune-up, and chanting defiant vocals which resemble a cross between Blasphemy, Blood and early Mika Luttinen. Songs do not relax the strident attack but do come to clear peaks and have a form shaped around that, which avoids the formless grindcore glaze-over that occurs with many bands attempting this style.
Three tracks do not give enough of an impression to tell where this band will go in the future, but it provides an insight into how they intend to make war metal both interesting and militant. Riffs here evoke Napalm Death and Immolation as often as Vulcano or Conqueror, and the way riffs comment on one another to build songs is more death metal than war metal, despite the general approach to riff-writing being more welcome to acknowledging its roots in grindcore and expanding upon them. The result is surging combat energy which creates a narrowed and critical view of the human experience, reducing our social pretense to the practicality of open battle, but infuses into that a delight in survival which — as with all good metal — gives life new meaning through darkness merging into light.
Peste Negra, Muetra Negra, the new albumfrom Anal Vomit, is out now on Gates of Hell Records, the new Cruz Del Sur Music sister label. Order the album on CD and vinyl formats at this location.
The release comes after a nearly six-year period during which only a live EP and a compilation from the band were released.Anal Vomit are influenced by old thrash metal and by legendary acts such as Sarcófago, Holocausto, Sexthrash, Vulcano and Possessed.
SARCOFAGO’S Decade Of Decay was initially released in 1995, and official copies of it are virtually impossible to find anywhere… until now. Bearing a total of 20 tracks spawned over the band’s career, this reissue of the compilation album weighs in with over an hour and twelve minutes of blasting SARCOFAGO mayhem and debauchery, and even includes three songs from the Satanic Lust demo, two songs from The Black Vomit demo and two songs from the Christ’s Death demo. This represents the first time that SARCOFAGO demo material is available officially. The entire reissue process for this compilation album has been overseen by SARCOFAGO’s Wagner “Antichrist” Lamounier himself!
The first release in a series of SARCOFAGO albums set for official reissue through 2012 and beyond, the first stateside release of Decade Of Decay will take place in North America on June 5th as a 6-panel/full color digipak CD imported directly from Brazil, featuring a full-color fold-out poster with information on all of the songs included. The packaging features never-before-seen photos from SARCOFAGO throughout their various stages, going from INRI all the way to the Hate album. An ultra-limited deluxe 2xLP edition is to be released later in the Summer with details to be confirmed shortly.
Decade of Decay Track Listing:
1. The Lost Of Innocence
2. Orgy Of Flies
4. The God’s Faeces
5. Song For My Death
6. Midnight Queen
7. Screeches From The Silence
9. Crush, Kill, Destroy
13. Desecration Of Virgin
15. The Black Vomit
16. Satanic Lust
17. Christ’s Death
18. The Anal Rape of God
20. Third Slaughter
Florida-based Greyhaze Records is now the official North American distributor for Brazilian label Cogumelo Records. Cogumelo is well-respected throughout the extreme metal world, having been founded over thirty years ago, and having released a steady arsenal of quality death, thrash and grind from acts including Sarcófago, Mutilator, Holocausto, Sextrash, Impurity, Chakal, Psychic Possessor, Ratos de Porão, Vulcano, Headhunter DC, Drowned, Defacer, Calvary Death and more. Cogumelo was responsible for the initial release of the Sepultura’s seminal first three albums — Bestial Devastation, Morbid Visions and Schizophrenia — now exclusively under license to Roadrunner Records.
Metal audiences and listeners, aficionados of a genre that is well known for it’s enthusiasm towards the macabre will always have the generalization of being attached to the horror genre. A very recent review of Cannibal Holocaust on here is testament to the leanings that many metallers and Hessians would have towards gore, science fiction and the supernatural, occult side of cinema. Seeing as Cannibal Holocaust did ‘realism’ to a certain extent, reviewing Rodrigo D: No Futuro intends to further this. This drama film, about an aspiring drummer is a brilliant narrative about survival amidst the harshest and roughest of environments captures a realism not present in most forms of dramatic cinema, but also possesses the same punk nihilism that would easily appeal to anybody who enjoyed Alex Cox’s brilliant ‘Repo Man’ and Tim Hunter’s ‘Rivers Edge’, stripped towards a far more coherent realism that is totally at odds with commercial ‘glossy’ film-making.
The fact that the film was shot in the same neighborhood where many of the main actors lived, within a city known to have the world’s highest murder rate at the time, only gives light to the fact as to how these young people would have gone about their daily lives, for which reason the writer feels rather little need to offer intricate details towards the plot of the film. It’s backdrop revolves around a day to day existence under the constant plethora of violence, crime, strife and nothingness for it’s young protagonists, amidst a musical backdrop that is a myriad of punk hardcore, thrash and early death/black metal, an indicator that if Europe were home to romanticism and North America a hotbed for nihilism, then surely in it’s earlier days the South American metal scene was the land where a brutal realism, born from poverty and societal decay, made itself clear.
Musically the soundtrack is one of the most compatible, suitable and cohesive to be heard in any underground flick. The fact that the bands featured on here are so distinctly similar to one another yet retaining their own character is perhaps indicative of a thriving yet incestuous underground scene in Medellin at the time, the savage and raw tonal quality having much in common, but perhaps a much more chaotic, ambient, stripped down take on what the Brazilian underground acts (Sepultura, Sarcofago, Mutilator, Vulcano, Sextrash) had done in a similar era. The remaining soundtrack is permeated with punk rock and hardcore that although not on the same level of corrosive aggression still oozes the same depravity and oblivion that makes the film all the more worthwhile and excellent.
An additional bonus to this is the presence of members of seminal Columbian act Parabellum in the film, the scene in which they are featured being poignant and insightful enough to merit that parts of the film were as good as being documentary footage. The scene featuring another local act, Blasfemia is excellent and iconic, with the band playing a rooftop gig/rehearsal, in the backdrop of idyllic mountains in the distance of decrepit, violent shanties.This is a highly recommended film for anyone fond of exploring realism within cinema, and also for those who want insight into South American underground music of the 80′s, getting hold of the soundtrack would be highly recommended. A gripping film, and both watcher or listener is entitled to take that opinion in either direction.
South America holds a very unholy place in the minds of Death Metal legions around the world, with the Brazilian scene of particular note for unearthing a bestial and blasphemous mode of Death Metal worship that drew inspiration from the mightiest warriors of Satan known to them: Bathory and Slayer, and would infuse these ideas with a level of wreckless primitivism and rawness unheard before. Chilean veterans Totten Korps’ music is an advancement of this style, assuming the forms of infamous Speed/Death barbarians like fellow Chileans, Pentagram and Brazilians, Holocausto and Vulcano within a cleaner soundspace that allows for more exploration of sinister melody in a winding, maze-like structure that is symbolic of the album’s perpetual struggle for primordial knowledge and occult powers. This is what separates Totten Korps from the trendier bands like Krisiun who have little taste for well thought-out narratives, preferring a collection of soundbites that cleave to a roughly Death Metal template. The band also knows how to keep the South American atavisms of bouncy and rhythmic passages that are punctuated by a vague melodic pattern in line with the greater whole of composition, often reflecting a central, recurring theme. There’s almost a Kataklysm-ic sense of grandeur in this method, although it sacrifices the flair of such precision for the fragmented and impulsive butchery of a good, old school Death Metal album from the land of condors and corpses.
They are going to drag
Yourself in the dust
Let your thought go