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Rating: "Once upon a time." Really, that's how this review could start. Because what was once there is no more. Gone. And if you were there too, you were lucky; if not, you missed it. Because looking back now, the story of Sepultura really seems like a fairy tale, only they (deliberately) forgot to write the happy ending.
Because starting at fourteen years old from a rough neighborhood hole in a Brazilian megacity and reaching the top of the world rock-metal scene in less than five years is truly not for everyone. On Debaser, these four desperate guys were justifiably defined as "a grenade exploding in your face" or something like that, and I'd say the concept fits. Listening to them today, one wonders how it was possible. Because, to be clear, apart from a couple of early Nineties albums, in my humble opinion, they didn't write any masterpieces, but they were the kind of people who managed to earn the esteem and respect of the whole rock-metal-alternative community of the time. Like: I don't care, but just the fact that you do it is fine by me. And if you add concerts that were really a punch, decent technical skills that allowed them to write well-structured songs that didn't become sterile chivalric poems (read: endless stuff) like the worst prog metal, and a good dose of anger, the game is on. Because that's exactly what you get from the grooves of various "Beneath the Remains," "Arise," "Roots": anger. And for once, not an "invented at the table" kind of anger, because it's "cool," but a real frustration, disillusionment, the depiction of a (Third) World on the edge of the end, themost total lack of hope.
Exaggerated? Maybe a little, but considering the context in which many of those songs were born, it's too much to ask for something different to come out. Lyrics written in basic English (I don't think our friends ever passed a First), but with content that was (almost) never trivial, sometimes sparking more than a thought, with themes ranging from political and religious repression, to the rediscovery of one's cultural roots, to syndicalism. A sort of third-worldism-no global fifteen years ahead of its time. But the music? A violent thrash metal that took lavishly from the most classic heavy, from death metal and from punk hardcore, the perfect formula to convey that sense of urgency, imperative need, communicative urgency. The relative stability of the lineups and the family relationship linking the two founders make Sepultura, from an ensemble of pseudo-disinherited like so many others, a family affair, as well as one of deep friendship. End of the fairy tale.
Then the toy breaks, almost everyone goes their own way, and the thing turns from "beautiful fairy tale" to the option of "more pathetic South American telenovela", giving rise to a series of tit-for-tat episodes that have been going on for no less than ten years, with people claiming the glorious name and others who want nothing to do with "bringing back" various defectors. Let it be clear, the best of Sepultura was live. In the albums, there was always some drop in tension, they were good, very much so, but from here to consider them the new Metallica was a stretch: however, in the concerts, that anger, that tension, usually concentrated in 33 RPMs, found its natural release valve, with a band proud to showcase their abilities on one hand and an audience on the other that couldn’t wait for it. Sepultura with their fans were a unique, the Sepultribe, indeed, a frankly laughable name but which conveys the idea. "Come on, let's mosh and sweat together": something like that.
And since they never made an official live album, the only thing is to recover some bootlegs from the good old times. And this "Amen Live" isn't bad at all: in full "Chaos AD" tour, at the height of their fame, with an average age around twenty-five, they already boast ten years of career, an enviable discography, and a fanbase all for them. Crappy recording as standard, bass nonexistent, drum played like a jackhammer, track titles written ad cazzum, can't even tell where it was recorded: all the elements for the classic bootleg are there. The classics, at least partly, make their appearance, and you didn't have to wait for "the old songs" to hear some decent stuff. All those elements that made the fortune of the four from Belo Horizonte are here. If the item (meaning the record, not this pretend review nonsense) catches your interest, give it a listen and do yourself this favor. I found it purely by chance at a stall, and for this fleabitten vinyl, I shelled out a beauty of thirty-five thousand lire, convinced by the guy it was some huge rarity. Whether it was a rarity or not, I don't know, but back then it was appreciated. Oh, by the way, for God's sake, stay away from reunions between brothers and former friends who hang out with African Americans. At least leave us the dear old taste of nostalgia.
Sepultura:
Max Cavalera, vocals and guitar
Andreas Kisser, guitar
Paulo Jr, bass
Igor Cavalera, drums and percussion
Amen Live:
- Side A:
Refuse/Resist
Territory
Antichrist (actually "Slave New World")
Amen
We who are not as Others
- Side B:
Inner Self
Arise
Propaganda
Biotech is Godzilla
Crucificados Pelo Sistema
Orgasmatron
Policia
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