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SEPULTURA’s DERRICK GREEN Says It Is ‘Good’ That Brazilians Are Protesting Government Spending On World Cup

SEPULTURA frontman Derrick Green, an American national who has called Brazil home for most of the last 16 years, says it is "good" that people are criticizing the Brazilian government for spending billions on hosting a football tournament when that money could be better directed towards alleviating poverty. According to CNN, the Brazilian government puts expenditure in terms of funds, loans and credit lines from the public purse for World Cup-related stadium projects at at $3.5 billion. But a recent audit suggested the price had escalated to $4.2 billion. Total investments in the 2014 FIFA World Cup by the Brazilian government reportedly amounts to $11.2 billion. Speaking to at last weekend's Hellfest in Clisson, France, Green said about protests from Brazilian activists interested in drawing attention to their country's persistent problems of poverty and inequality: "A lot of the stuff that people are talking about, it's good, because the fact is that a lot of the money and everything has been going into the wrong places. And especially, they shouldn't have been having a World Cup there — even though it's the biggest dream of a Brazilian to have a World Cup in Brazil. But I don't think a lot of people realized what FIFA [soccer's world governing body] was about. And that's a big problem. I mean, if you look at the history of FIFA and what it's done to certain places, you would really understand how wrong it can go. But it's gone horribly gone there [in Brazil], because it was already corrupted to begin with, and when you add those two together, it's just gonna be an even bigger amount of corruption. So all those things that people are talking about, it's good that people are actually talking about and kind of waking up Brazilians, because there's a lot of things that were problematic way before the World Cup that I recognized, just being an outsider so it's easier for me to see those different things, especially coming from the U.S., where they have their own problems as well. But the first time entering Brazil, I realized, I was, like, 'Wow. There's a lot of education that's needed,' number one, with hospitals and all this stuff." He continued: "People get psyched on the propaganda of the World Cup and everything. It's the biggest sport in the world and, of course, Brazil has been a five-time champion, so it's in the blood of Brazilians. "It's unfortunate that all this money was wasted on… I feel… I'm a fan of sports and everything, but I'm not fanatical, and I understand there's much more important things that are needed in the country than a football stadium that nobody's going to go to after the World Cup is done. It's just a strong wake-up call, like I was saying. But hopefully people will see things differently now…. "Like I was saying, coming from the U.S., where they designed that whole idea of mass propaganda — it's such a genius way to manipulate people, and it's neverending, but people don't understand the power that it has. And especially growing up in the U.S., you're bombarded by it every day where you become completely numb to what's really going on, and I grew up with that way. But living in Brazil now for almost, or being outside the U.S. for 16 years, I've really been able to see all these different changes and how effective it is." SEPULTURA's new album, "The Mediator Between Head And Hands Must Be The Heart", sold around 1,800 copies in the United States in its first week of release. The CD came out on October 29, 2013 via Nuclear Blast Records.

IGOR CAVALERA: ‘It Would Have Been Cooler’ If SEPULTURA Had Ended After I Left The Band

In a late 2013 interview with Rogério of the Brazilian rock band LO-FI, ex-SEPULTURA drummer Igor Cavalera was asked about his current relationship with his former bandmates and how he looks back on his two-decade-long tenure with the group. "It's kind of weird," Igor said (see video below). "I am proud of all I accomplished with SEPULTURA, and on the other hand, I feel a little sad, you know, because I see the guys playing nowadays, and a lot of the drive and rush that we had has been lost. My brother [Max] left the band, then I left the band, so I think, in my opinion, it would have been cooler if the band had come to an end at that point. Maybe that would have been the right time for it to stop — kind of like soccer players that retire from the sport while they are still at the peak of their playing ability, [before] they start looking like they are too tired to keep playing. So it makes me sad, but on the other hand, I'm doing my own thing now." In 1996, Max exited SEPULTURA after the rest of the band fired Max's wife Gloria as their manager. Igor left SEPULTURA in June 2006 due to "artistic differences." His departure from the band came five months after he announced that he was taking a break from SEPULTURA's touring activities to spend time with his second wife and their new son (who was born in January 2006). In an October 2013 interview with MTV Iggy, SEPULTURA guitarist Andreas Kisser stated about the split with the Cavalera brothers: "For SEPULTURA fans, there are many SEPULTURAs in their head. It's not only because Max and Igor [left]. "If you [compare] the albums that we did together, from 'Schizophrenia' to 'Roots', they are totally different bands — but the same lineup. "We all change; we all grow up. "The choice to leave the band was their choice. We never fired any musician in the group. We only fired our manager after the 'Roots' tour, and Max chose to leave and stay with her and start a solo career. He didn't care about the name during those days. He didn't fight for the name. He just turned his back and said, 'Fuck you guys; I'm better off myself.' And Igor left 10 years later; he didn't care either to fight. It's like many fathers who have children and leave them. "For [the Cavaleras], SEPULTURA is like an abandoned child. They really turned their back on us and left. But it feels great to be here and keep the SEPULTURA name strong, bringing new stuff to the albums. The SEPULTURA spirit never changed, and that's why we're still here as SEPULTURA." After Max exited SEPULTURA, there was a rift between him and Igor, one that was eventually repaired through the redemptive power of music. Some time had passed and Max and Igor were unable to resist the musical pull in their magnetic fields and their musical collaboration was renewed. The duo are back for round two with CAVALERA CONSPIRACY, which released its debut album, "Inflikted", in March 2008 and follow-up effort, Blunt Force Trauma", in March 2011. CAVALERA CONSPIRACY's third album will be released this fall via Napalm Records. The CD was produced by John Gray, who has previously worked with SOULFLY. CAVALERA CONSPIRACY recently recruited Nate Newton of CONVERGE as its new bassist. Max and Igor played together for the first time in 10 years at the 10th annual D-Low Memorial Festival on August 17, 2006 at the Marquee Theatre in Tempe, Arizona. Igor, 43, who has been living in England with his wife Laima Leyton since 2012, says that his main focus continues to be MIXHELL, the DJ/hip hop/electro project also featuring his wife.

MAX CAVALERA’s Original Home-Demo Version Of SEPULTURA’s ‘Roots Bloody Roots’ Posted Online

Max Cavalera's original home-made demo version of the SEPULTURA classic "Roots Bloody Roots" can be streamed using the SoundCloud widget below. The song eventually became the opening track of the band's sixth studio album, 1996's "Roots", which was SEPULTURA's last studio CD to feature Max on vocals and guitar. Asked in a December 2013 interview with if he was a proponent of the down-tuned guitar approach, like Max was, around the time when bands like KORN and the DEFTONES were just beginning to take off in terms of popularity, SEPULTURA guitarist Andreas Kisser said: "At the beginning, not much. I was skeptical of the low tuning because bands like KORN or the DEFTONES, they don't have the fast pace of SEPULTURA's music. I was concerned to lose that kind of fast ability and the picking, the heavy picking on sloppy, low strings. But there are so many possibilities of using heavier-gauge strings, which give that kind of tension, and you don't lose that ability to play fast. 'Trauma Of War', the song that opens the [new SEPULTURA] album ['The Mediator Between Head And Hands Must Be The Heart'], it's in low tuning, but it's a very fast song, but we don't lose that kind of ability. I learned how to do deal with that, and you open a lot of worlds in music, but yeah, at the beginning I was a little skeptical." Speaking to in 2009, Max admitted that he drew inspiration from some of the so-called early "nu metal" bands during the songwriting process for "Roots". He explained: "SEPULTURA did [take] a little bit of an influence from KORN and DEFTONES in some areas. And the funny thing is that we influenced those bands from when they started out. I talked to the KORN guys and they said they listened to 'Chaos A.D.' religiously when they started — it was like one of their favorite records. So it's kind of a 360 degrees kind of influence — back and forth." "Roots" was certified gold in 2005 by the RIAA (Recording Industry Association of America) for U.S. shipments in excess of 500,000 copies.

Video: MAX CAVALERA Joins SUICIDE SILENCE For Performance Of SEPULTURA’s Roots Bloody Roots’

Max Cavalera (SOULFLY, CAVALERA CONSPIRACY, SEPULTURA, KILLER BE KILLED) joined SUICIDE SILENCE on stage last night (Wednesday, April 23) at the Revolver Golden Gods awards show at Club Nokia in Los Angeles to perform the SEPULTURA classic "Roots Bloody Roots". Professionally filmed video footage of his appearance can be seen below. SUICIDE SILENCE will release "You Can't Stop Me", their first album to feature new vocalist Hernan "Eddie" Hermida (ex-ALL SHALL PERISH) and their first since the tragic loss of singer Mitch Lucker, on July 11 in Europe (except in the U.K., where it will arrive on July 14) and July 15 in North America via Nuclear Blast Entertainment. "You Can't Stop Me" was produced and mixed by Steve Evetts (SEPULTURA, THE DILLINGER ESCAPE PLAN), who worked with the band not only on "The Black Crown", but also on some instrumental demos for the new CD just prior to Lucker's death in the fall of 2012. SOULFY's ninth album, "Savages", was released on October 1, 2013 via SOULFLY's new label home, Nuclear Blast Entertainment. The CD was produced by Terry Date, who is known for his work with such acts as PANTERA, DEFTONES and SOUNDGARDEN, among many others. Guest vocal appearances on "Savages" include SOULFLY bass player Tony Campos, CLUTCH's Neil Fallon, NAPALM DEATH's Mitch Harris, Jamie Hanks of I DECLARE WAR and SOULFLY mainman Max Cavalera's son Igor Cavalera (of LODY KONG).

SEPULTURA: Enschede Concert Footage

Fan-filmed video footage of SEPULTURA's March 7 performance at Atak in Enschede, The Netherlands can be seen below. SEPULTURA's new album, "The Mediator Between Head And Hands Must Be The Heart", sold around 1,800 copies in the United States in its first week of release. The CD came out on October 29, 2013 via Nuclear Blast Records. Although it was inspired by Fritz Lang's classic 1927 movie "Metropolis", "The Mediator Between Head And Hands Must Be The Heart" is not a concept album or a soundtrack like its precedessors "Dante XXI" (based on "The Divine Comedy") and "A-Lex" (based on "A Clockwork Orange"). "The Mediator Between The Head And Hands Must Be The Heart" was tracked over a 40-day period at producer Ross Robinson's (KORN, LIMP BIZKIT, SLIPKNOT) studio in Venice, California and was mixed and mastered by co-producer Steve Evetts, who previously worked with SEPULTURA on the "Nation" (2001), "Revolusongs" (2002) and "Roorback" (2003) albums, in addition to having collaborated with Ross on a number of other projects in the past. In a 2013 interview with, SEPULTURA singer Derrick Green stated about the new album title: "We always have the simple one-word titles or very basic. And with this we knew what we wanted to do. We wanted to maybe make people think a little bit. "I think we have become lobotomized, including myself, because I'm not putting myself outside of anything. I think a lot of times we live in a time where people are thinking actions or creating ideas — doing something in their head but going right to their hands. And they're missing the essential part, the heart and the compassion, that's behind what you are doing. And (the title) came from a movie called 'Metropolis' (1927) by a director called Fritz Lang, and it's a silent movie. And it's actually the first thing you see in the movie. And the meaning behind it is just that: It's impossible to be human without having the heart dictate what you're doing and why you're doing certain things. "So I believe this album has that passion and drive and love for music. "So man

ANDREAS KISSER Says CHUCK BILLY’s SEPULTURA Audition Tape Was ‘Interesting’

David E. Gehlke of recently conducted an interview with SEPULTURA guitarist Andreas Kisser. A few excerpts from the chat follow below. Since you're working with Ross [Robinson] again, it makes one think of the first time you recorded with him, which is when down-tuning became really big with bands like KORN and the DEFTONES doing it. Max [Cavalera] was always a big proponent of it; were you as well? Kisser: At the beginning, not much. I was skeptical of the low tuning because bands like KORN or the DEFTONES, they don't have the fast pace of SEPULTURA's music. I was concerned to lose that kind of fast ability and the picking, the heavy picking on sloppy, low strings. But there are so many possibilities of using heavier-gauge strings, which give that kind of tension, and you don't lose that ability to play fast. "Trauma Of War", the song that opens the [new SEPULTURA] album, it's in low tuning, but it's a very fast song, but we don't lose that kind of ability. I learned how to do deal with that, and you open a lot of worlds in music, but yeah, at the beginning I was a little skeptical. Your very first meeting with Derrick, what do you remember the most about it? Kisser: It was great. He came down from the States to Brazil because we were holding auditions with different people in Brazil. Derrick came down after the demo and he did "Choke". I have "Choke" with so many different singers [including Marc Grewe of MORGOTH; Phil Demmel of MACHINE HEAD and VIO-LENCE; Jason "Gong" Jones of DROWNING POOL; and Jorge Rosado of MERAUDER) some day I'll release it with all the different versions. Even Chuck Billy from TESTAMENT, he did a tryout. It was interesting the way he sang "Choke" and stuff. It would be cool to put it out some day. Derrick was for the future, though. We weren't looking for somebody similar to Max, or trying to replace him with a clone. Different visuals different attitude we liked Derrick we felt he could really grow up and be into simple terms is it, which he did. His vocals are great, he's very diverse, he can do melodic stuff and aggressive shit, and he hardly loses his voice. He's very professional and he takes care of his voice on tour and everything. He's great. He's a guy who is also very intelligent. We talk a lot about different movies, documentaries, books, and we do lyrics together. We come up with song titles, concepts, and everything. He's a great partner in that respect. Personality-wise with Derrick, did you guys connect fairly quickly? Kisser: I think it was different for him. He came to Brazil, replacing Max Cavalera, which was very hard in the beginning — being black as well in such a racist society everywhere in the world, not only in America. It's great that he was able to face all this with great courage and great professionalism. SEPULTURA as well, with somebody like him in the band, and we said what we always said, that we're for justice and equality, and respect. We live that; we not only say that for the lyrical purposes. We really are what we are. He was the best choice for us. He's a guy who could understand the SEPULTURA way of living, of hard touring everywhere and we can survive in a bus together without wanting to kill each other and stuff. [laughs] We have the same type of ideas and conversations. I think Derrick was the perfect guy for us, and it shows. The big vocalist search in 1997 and '98, was your head spinning from all the submissions? Kisser: Oh yeah, definitely. Right after Max left at the end of '96, back in January and February of '97, me, Igor [Cavalera, drums], and Paulo [Xisto Pinto Jr., bass] got together and started writing new stuff. We didn't want to play any old stuff. We didn't want try people out on something like "Refuse/Resist". That would be too easy, so we wanted to see the new guy singing something he never heard before; we wanted to see his input and his ideas and his possibilities with the vocals. We took eight to nine months just as a trio. We had the idea of staying as a trio, me being the singer and I even took vocal classes and tried to do demos, but I sing like crap. [laughs] I was the first singer of SEPULTURA that received a "no." [laughs] I've seen and heard you do backup vocals — you don't have a bad voice. Kisser: I can use my voice fairly well, I can scream, but to be a singer and to embrace it, it's much more than having a good voice. You have to embrace something different. I am a guitar player. I didn't want to lose my guitar playing time just to embrace something that I am not. I don't want to force the situation. The trio time was great — we didn't do any live shows or anything, but we were practicing and trying out stuff, putting our heads in place, without making any big decisions with the turmoil that was going on. We resolved everything with Max, we signed all the papers, he's out, he didn't want anything to do with SEPULTURA. He left, and we started looking for a new singer. Then when Derrick came at the beginning of '98, he moved out to Brazil, and we started our journey. You can read the entire interview at

KISSER Has ‘No Regrets’ About SEPULTURA’s Split With MAX CAVALERA

Guitar World magazine's January 2014 issue includes a "Dear Guitar Hero" feature on SEPULTURA's Andreas Kisser, who discusses the band's lengthy new album title, filling in for ANTHRAX's Scott Ian during the "Big Four"'s European tour dates, and his experience auditioning for METALLICA as James Hetfleld's temporary replacement (on guitar only) while James recovered from being burned onstage back in 1992.