| | Sepultura Roots CD Sepultura Discography of CDs
(4 Customer Reviews)
 |
|
Our Price: $20.75 CDFor Sale Usually ships in 1-2 days
|  |
On its sixth album, Brazil's most famous head-banging outfit takes a page from the nu-metal book but, more importantly, combines its brutal thrash-metal sound with indigenous music from its homeland, occasionally utilizing the percussion and chants of the country's Xavantes tribe to powerful effect. The biggest standouts are the lively, acoustic-guitar-driven "Itsari" and the epic closer "Canyon Jam," both improvisations with Xavantes musicians that make for welcome contrasts to the record's intense bombast. Elsewhere, Brazilian percussionist Carlinhos Brown drives the rhythm-laden "Ratamahatta," a track that exemplifies the quartet's distinctive brand of "tribal metal."
ROOTS marks a big step forward for the thrash-metal genre because of the way Sepultura matches its carefully controlled mayhem with the dynamic nature of its influences and collaborators. Faith No More singer Mike Patton, Korn frontman Jonathan Davis, and Limp Bizkit's DJ Lethal all pop up on "Lookaway," a dark, grinding tune with Eastern-inspired vocals. As a whole, ROOTS is a visceral synthesis of groove and aggression, especially when drummer Igor Cavalera lets loose with flurries of tom-tom fury. ROOTS also closes a major chapter for the group, since after recording the album, vocalist/guitarist Max Cavalera departed to form Soulfly.
Additional Tracks; Special Edition
Recorded at Indigo Ranch, Malibu, California and live in the "Aldeia Pimentel Barbosa," Mato Grosso, Brazil on November 5, 1995.
Sepultura: Max Cavalera (vocals, guitar); Andreas Kisser (guitar); Paulo Jr. (bass guitar); Igor Cavalera (drums).
Sepultura: Max Cavalera (vocals, acoustic & electric guitars, berimbau, percussion); Andreas Kisser (acoustic & electric guitars, sitar, percussion, background vocals); Paulo Jr. (bass, timbau grande, percussion); Igor Cavalera (drums, timbau, djembe, percussion).
Additional personnel: Carlinhos Brown (vocals, berimbau, timbau, wood drums, lataria, xequere, surdos); Mike Patton, Jonathan Davis (vocals); David Silvera, Ross Robinson (percussion); Xavantes tribe, DJ Lethal.
Rolling Stone (3/21/96, p.98) - 3 Stars - Good - "...Sepultura play a violent game of sonic overload....the band uses its catharsis as a creative force, funneling torrents of noise into a tunnel of hate..." Spin (4/96, p.110) - 6 - Reasonably Good - "...takes the rain-forest chants and street drumming flavor that flickered through the firestorm of CHAOS A.D. even further....Sepultura's ethnography...[is] about sound--heavy bloco drumming and crushing guitars were made for each other..." Q (7/01, p.91) - Included in Q's "50 Heaviest Albums of All Time". Q (3/96, p.103) - 3 Stars - Good - "...it's constructed of ferocious throat bending and huge riffs that support their growling menace, while simultaneously doffing a cap to their ethnic ancestors..." Melody Maker (2/17/96, p.34) - "...the aural equivalent of being caught in a midfield by a PCP-fuelled defensive line from the Pittsburgh Steelers....this is [not] a mere metal barrage....There's ruthless rap attacks...the murderous electronic whining...the tribal chants and Brazilian ragga metal duets..." NME (Magazine) (2/24/96, p.46) - 7 (out of 10) - "...a host of strange and traditional instruments has given Sepultura new formats for their extreme displeasure..." Roots Music | List Price | $24.98 (You save $4.23) | | Category | Rock/Pop Albums, Rock CDs, Heavy Metal, Death Metal | | Label | Roadrunner | | Orig Year | 1996 | | All Time Sales Rank | 51126  | | CD Universe Part number | 6853079 | | Catalog number | 618154 | | Discs | 2 | | Release Date | Jun 07, 2005 | | Studio/Live | Mixed | | Mono/Stereo | Stereo | | Producer | Ross Robinson | | Engineer | Chuck Johnson | | Personnel | Max Cavalera - vocals, acoustic & electric guitars, berimbau, percussion Igor Cavalera - drums, timbau, djembe, percussion Andreas Kisser - guitar Paulo Jr. - bass guitar
Also: Jonathan Davis, D.J. Lethal, Mike Patton, Carlinhos Brown, Ross Robinson, David Silvera, Xavantes tribe | | Additional Info | Bonus CD; Bonus Tracks; Reissue; Digipak |
Purchase Roots CD To buy, Click on price to add to cart | Sepultura Morbid Visions/Bestial Devastation CD (1986) Remastered
Roots album
$15.09 MORBID VISIONS/BESTIAL DEVASTATION was originally released as 2 separate EPs.
Tracks 1-8 are from MORBID VISIONS and 9-13 are from BESTIAL DEVASTATION.
BESTIAL DEVASTATION recorded at J.G. Estudios, Belo Horizonte, Brazil in August 1985. MORBID VISIONS recorded at Estudio Vice Versa, Belo Horizonte, Brazil in August 1986. Includes liner notes by Don Kaye.
Sepultura's early work can be described as extremely raw, under-produced, and unspectacular death metal, ...
| | VH1 Presents The Corrs: Live In Dublin CD (2002)
Roots CD music
$6.19 This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that ...
| | Dredg Catch Without Arms CD (2005)
Roots music CDs
$8.49
| | Degrassi - The Complete Third Season DVDs (2003) Director's Cut
Roots songs
$26.05
| | Tales From The Crypt - The Complete Third Season DVDs (1991)
Roots album
$27.87
| | Darkthrone Cult Is Alive CD (2006) (Import) England; Limited Edition; Enhanced CD
Roots CD music
$23.49 At a time when most of the first wave of Norwegian black metal bands are long gone, Darkthrone has become the senior figures of this particular subgenre almost by default; they're like the Rolling Stones of death metal. And much like the Rolling Stones around the time of Some Girls and Emotional Rescue, Darkthrone now seems to be caught between staying true to their original sound and adapting to the commercial marketplace. The album's first single, "Too Old, Too Cold" is easily the most immediately accessible song the band has ever done, sounding more like American hardcore punks the Misfits than anyone else, and elsewhere "Graveyard ...
| | Charles Mingus Mingus At The Bohemia CD (1955)
Roots music CDs
$7.95
| | John Foxx Modern Art CD (2001) (Import) Australia
Roots songs
$10.99 This 18-track anthology neatly summarizes the solo career of John Foxx, who recorded several solo synth-pop albums after leaving Ultravox following their third album; features the singles "Underpass" and "No One Driving" as well as some previously unreleased material.
His affection for cool synth soundscapes enriched by a love of nature and a strong Catholic mysticism, John Foxx has always been a man of more depth than the new romantics he once inspired. Fortunately, the many facets of Foxx's complex persona get a fair representation on Modern Art, the second retrospective of his long but interrupted career and a superior collection to the previous Assembly. The remastered album manages to hit most of the essential highlights, making it a fine introduction, yet won't be superfluous to more dedicated fans thanks to a handful of sought-after offerings from throughout Foxx's two decades as a solo artist after leaving Ultravox. The former group of listeners will find the one-two punch of "Underpass" and "No-One's Driving," off Foxx's first album, Metamatic, a revelation, as both songs take Kraftwerk's chilly precision to even colder, more alienated extremes. From there, a slight warming trend is audible, as real instruments began to support the singer' s stylish, Bowie-influenced romanticism: his finest single, the sweeping "Europe After the Rain," and even more prominently on Beatlesque follow-ups like "Your Dress" and "Like a Miracle." For casual Foxx fans, the story ended shortly thereafter when the singer retreated from pop music in the mid-'80s. But he broke ...
| | End Within Dividia CD (2004)
Roots album
$10.85 Canadian avant-garde metal troupe The End had a lot of explaining to do following the release of their freakishly named debut, 2002's Transfer Trachea Reverberations from Point: False Omniscient. Infeasibly dense and demanding, its only intention seemed to be out-weirding the likes of Today Is the Day or the Dillinger Escape Plan in terms of sheer, extreme music lunacy. Thankfully, the band's first album-length work, 2004's Within Dividia, not only scaled back the group's enraged musical assault just a tad, but also comes with a lyric sheet. And well it should, seeing as it's a self-described ...
| | Rob Mazurek Sweet And Vicious Like Frankenstein CD (2004) (Import) Austria
Roots CD music
$16.09 Sweet and Vicious Like Frankenstein represents a normal step in light of the evolution of Rob Mazurek's music over the last decade. Still, it is probably not what you are expecting, especially if you take his previous solo effort, Silver Spines, as a point of comparison. There is not a cornet in sight; this album is all electronics. Mazurek uses a computer, a mini-disc, and a tone generator -- that's it. The approach has nothing to do with jazz, rock, or even free improvisation. It could be seen as a tribute to early musique concrète and computer music. It stands somewhere between sound collage, kitsch electronics, and noise -- and, if you can (or are willing to) get over the initial shock, this album is actually quite strong. There are two extended pieces. "Body Parts (Spectral White)," 40 minutes long, is an intriguing work progressing by episodes of four or five minutes, roughly pieced together like the parts of Frankenstein's creation. Some sections are strongly reminiscent of early electronic music (Vladimir Ussachevsky, Hugh Le Caine, Pierre Henry, Arne Nordheim), while other ones range from microsonic computer treatments to harsh sound experiments and field recordings. The early electronics bits come back regularly, acting like a leitmotiv and reinforcing the analogy with Frankenstein (experimentation in the infancy of a technology) and, through the character, with old horror movies. "Electric Eels (In Half Light)" is neither as conceptually rich nor as striking. In contrast with the previous piece, it presents a uninterrupted 25-minute flow of sounds, mostly harsh and escalating. Reference points include Kevin Drumm and Merzbow (although the piece is slightly less brutal than the latter's usual output). Sweet and Vicious Like Frankenstein could have been an episode of self-indulgence from a man who obviously likes to dip his fingers into as many bowls as he sees fit. Instead, it came out as a very honest effort in sound art, the work of a man who knew what he was doing, not a dilettante. Nevertheless, approach with caution if you were hoping for some abstract ...
| | Early Man CD (2005) Extended Play
Roots music CDs
$11.99
| | Bwana If If CD (1970) (Import) Limited Edition
Roots songs
$19.69
| | James Dioronnie Angry Machines/Super VA CD (2006) (Import)
Roots album
$19.79
| | Mai Nakahara Concept Mini Album CD (2006) (Import)
$30.39 | | Heavy Creatures The Cymbal And The Skull CD (2008)
Roots CD music
$10.15 Hey! It\'s our 2nd release!!! Each of these CDs has a hand-rubber-stamped cover, all stamped by us with much love. We designed, stamped, assembled and numbered each CD, so each one is different.Heavy Creatures started making music together in 2004 in an old decayed factory in Brooklyn NY. Inspired by bands such as Shocking Blue, Heart and Led Zeppelin, the double-female fronted band invokes the psychedelic sound and threads it through with their own personal influences, ranging from old Americana, sea shanty choruses and ROCK. The Cymbal and the Skull is a vibrant exploration of the band\'s quest for its own sound. Their debut album, Loaded Sky, (which was recorded live on an analog 8-track in their practice space by engineer & boutique pedal designer John Schumann) was released in the fall of 2006. That album hints at elements of psychedelia and late 60s inspired riffage but it\'s The Cymbal and the Skull that is clearly bringing the Creatures into their own. For this album, the band recorded analog again at Brooklyn\'s Metrosonic Studio with engineer George Dugan, who has recorded other off-the-fringe bands such as Yoke, The Phenomenal Hand Clap Band and New York Howl. Each song style on this recording is unique, and has a different story to tell; almost as if they are a collection of short stories in a large volume. With subject matter that explores different paths of intensity stemming from basic human emotions, it is easy to relate to each story. Sarah and Kelley, both lead vocalists, take turns singing with the softest of harmonies and the loudest of melodies and each contributes her own particular energy to the band\'s sound. The first track, \"Family Tree\" is a wall of solid droning keyboard and bass sound with intricate guitar lines that are fast becoming a Vaughn trademark. With vocals by Sarah, \"Family Tree\" describes a lover\'s efforts to convince the object of her affections to give up the chase. \"Crimson Canyon\", with vocals by Kelley, is a seven minute epic, and tells the story of a duel between two forces of nature; an ocean and a mountain. It being a fight song, \"Crimson Canyon\" speaks of how equally matched opponents will lose everything once they decide to pit their strength against each other. \"Nightwitches\", a sonic exploration that describes the phenomenon of female Soviet fight pilots in WWII, features Pat\'s fluid and explosive drum beats, a consistently driving presence throughout the album. \"Honey\", a song written and recorded in the studio in just a few takes, flows directly from Chris\'s bass line and is a prime example of his role as the foundation upon which Heavy Creatures resides. Heavy Creatures hails from a wide musical background. Kelley Vaughn (guitar-vocals) is from a family of Southern gospel piano players and this is her first musical project. She, a former graphic ...
|
|
|