SEPULTURA

Groove Metal / Thrash Metal / Death Metal / Alternative Metal • Brazil
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Sepultura is a Brazilian thrash metal band, formed in 1983. Their name means "grave" in Portuguese, which they chose after Max Cavalera, one of the founding members, was translating the lyrics of the Motörhead song "Dancing on Your Grave".

Sepultura was formed in Belo Horizonte, Brazil in 1983 by Max Cavalera (guitars and vocals), his younger brother Igor Cavalera (drums), Paulo Pinto (bass) and Jairo Guedes (guitars). Sepultura signed to Cogumelo Records after a few years of performing, with a sound influenced by their favorite bands such as Ratos de Porão, Discharge, Possessed, GBH and Metallica. Their first EP was Bestial Devastation, a split with Overdose's album on the flipside. Their first LP was Morbid Visions (1986), which included the moderate hit "Troops of Doom" that attracted the band some attention. After Morbid Visions, Jairo Guedes left the band for another death metal venture and Sao Paulo based guitarist
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SEPULTURA Discography

SEPULTURA albums / top albums

SEPULTURA Morbid Visions album cover 2.65 | 33 ratings
Morbid Visions
Death Metal 1986
SEPULTURA Schizophrenia album cover 3.51 | 45 ratings
Schizophrenia
Thrash Metal 1987
SEPULTURA Beneath the Remains album cover 4.40 | 89 ratings
Beneath the Remains
Thrash Metal 1989
SEPULTURA Arise album cover 4.32 | 94 ratings
Arise
Thrash Metal 1991
SEPULTURA Chaos A.D. album cover 3.84 | 62 ratings
Chaos A.D.
Groove Metal 1993
SEPULTURA Roots album cover 2.89 | 49 ratings
Roots
Alternative Metal 1996
SEPULTURA Against album cover 3.23 | 25 ratings
Against
Groove Metal 1998
SEPULTURA Nation album cover 3.33 | 20 ratings
Nation
Groove Metal 2001
SEPULTURA Roorback album cover 3.03 | 15 ratings
Roorback
Groove Metal 2003
SEPULTURA Dante XXI album cover 3.78 | 21 ratings
Dante XXI
Groove Metal 2005
SEPULTURA A-Lex album cover 3.41 | 20 ratings
A-Lex
Groove Metal 2009
SEPULTURA Kairos album cover 3.49 | 23 ratings
Kairos
Groove Metal 2011
SEPULTURA The Mediator Between Head and Hands Must Be the Heart album cover 3.91 | 16 ratings
The Mediator Between Head and Hands Must Be the Heart
Thrash Metal 2013
SEPULTURA Machine Messiah album cover 4.22 | 20 ratings
Machine Messiah
Groove Metal 2017
SEPULTURA Quadra album cover 4.33 | 12 ratings
Quadra
Thrash Metal 2020

SEPULTURA EPs & splits

SEPULTURA Bestial Devastation album cover 2.77 | 15 ratings
Bestial Devastation
Death Metal 1985
SEPULTURA Morbid Visions / Cease to Exist album cover 0.00 | 0 ratings
Morbid Visions / Cease to Exist
Thrash Metal 1989
SEPULTURA Under Siege (Regnum Irae) album cover 4.19 | 4 ratings
Under Siege (Regnum Irae)
Thrash Metal 1991
SEPULTURA Third World Posse album cover 4.82 | 5 ratings
Third World Posse
Thrash Metal 1992
SEPULTURA Natural Born Blasters album cover 4.50 | 1 ratings
Natural Born Blasters
Thrash Metal 1996
SEPULTURA Cemetery Gates (Demon Knight Edit) album cover 0.00 | 0 ratings
Cemetery Gates (Demon Knight Edit)
Thrash Metal 1996
SEPULTURA Procreation of the Wicked album cover 0.00 | 0 ratings
Procreation of the Wicked
Thrash Metal 1997
SEPULTURA Tribus album cover 4.00 | 2 ratings
Tribus
Groove Metal 1999
SEPULTURA Revolusongs album cover 3.88 | 4 ratings
Revolusongs
Groove Metal 2002

SEPULTURA live albums

SEPULTURA Under a Pale Grey Sky album cover 4.07 | 7 ratings
Under a Pale Grey Sky
Groove Metal 2002
SEPULTURA Live in São Paulo album cover 4.17 | 3 ratings
Live in São Paulo
Groove Metal 2005

SEPULTURA demos, promos, fans club and other releases (no bootlegs)

SEPULTURA Rehearsal album cover 0.00 | 0 ratings
Rehearsal
Death Metal 1986
SEPULTURA Demo 87 album cover 0.00 | 0 ratings
Demo 87
Thrash Metal 1987
SEPULTURA Sepultura / Atom Seed album cover 0.00 | 0 ratings
Sepultura / Atom Seed
Thrash Metal 1991
SEPULTURA Free Cassette Sampler album cover 0.00 | 0 ratings
Free Cassette Sampler
Thrash Metal 1996

SEPULTURA re-issues & compilations

SEPULTURA Morbid Visions / Bestial Devastation album cover 3.00 | 5 ratings
Morbid Visions / Bestial Devastation
Death Metal 1991
SEPULTURA The Roots of Sepultura album cover 3.31 | 4 ratings
The Roots of Sepultura
Alternative Metal 1996
SEPULTURA Blood-Rooted album cover 2.40 | 6 ratings
Blood-Rooted
Groove Metal 1997
SEPULTURA B-Sides album cover 0.00 | 0 ratings
B-Sides
Groove Metal 1997
SEPULTURA The Best of Sepultura album cover 1.00 | 1 ratings
The Best of Sepultura
Groove Metal 2006
SEPULTURA The Complete Roadrunner Collection 1987 - 1996 album cover 0.00 | 0 ratings
The Complete Roadrunner Collection 1987 - 1996
Thrash Metal 2012

SEPULTURA singles (10)

.. Album Cover
5.00 | 1 ratings
Dead Embryonic Cells
Thrash Metal 1991
.. Album Cover
5.00 | 1 ratings
Arise
Thrash Metal 1992
.. Album Cover
4.00 | 1 ratings
Territory
Groove Metal 1993
.. Album Cover
0.00 | 0 ratings
Refuse/Resist
Groove Metal 1994
.. Album Cover
0.00 | 0 ratings
Slave New World
Groove Metal 1994
.. Album Cover
4.50 | 1 ratings
Attitude
Groove Metal 1996
.. Album Cover
4.50 | 1 ratings
Ratamahatta
Groove Metal 1996
.. Album Cover
5.00 | 1 ratings
Roots Bloody Roots
Groove Metal 1996
.. Album Cover
0.00 | 0 ratings
Choke
Groove Metal 1998
.. Album Cover
0.00 | 0 ratings
Against
Groove Metal 1999

SEPULTURA movies (DVD, Blu-Ray or VHS)

.. Album Cover
4.62 | 4 ratings
Under Siege Live in Barcelona
Thrash Metal 1992
.. Album Cover
0.00 | 0 ratings
4 Songs Tied
Thrash Metal 1992
.. Album Cover
0.00 | 0 ratings
Territory
Groove Metal 1993
.. Album Cover
0.00 | 0 ratings
Refuse / Resist
Groove Metal 1994
.. Album Cover
0.00 | 0 ratings
Third World Chaos
Groove Metal 1995
.. Album Cover
0.00 | 0 ratings
We Are What We Are
Groove Metal 1996
.. Album Cover
0.00 | 0 ratings
Tribal Devastation
Thrash Metal 1997
.. Album Cover
4.67 | 3 ratings
Chaos DVD
Thrash Metal 2002
.. Album Cover
4.43 | 3 ratings
Sepultura - Live in Sao Paulo
Groove Metal 2005
.. Album Cover
0.00 | 0 ratings
Metal Veins - Alive at Rock in Rio
Groove Metal 2014

SEPULTURA Reviews

SEPULTURA Quadra

Album · 2020 · Thrash Metal
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UMUR
"Quadra" is the 15th full-length studio album by Brazilian metal act Sepultura. The album was released through Nuclear Blast Records in February 2020. It´s the successor to "Machine Messiah" from 2017. As the case was on the predecessor Sepultura went to Sweden and worked with producer Jens Bogren. "Quadra" is a concept album based on the Quadrivium, which is the four subjects/arts of arithmetic, geometry, music, and astronomy.

The band were very conscious in the way they composed tracks for the album, as they wanted to include three tracks of each of the four main styles, they believe Sepultura have produced on recent releases. Fast and aggressive thrash metal tracks, groove laden/percussive heavy tracks, semi-progressive tracks, and some more melodic oriented tracks, with Derrick Green treating the listener to his pleasant and powerful deep register clean vocals. Green´s performance on "Quadra" is strong and varied, and he is capable of both raw barking vocals, raw screaming (hardcore tinged) type vocals and the clean vocal variant described above. The rest of the band are of course also very skilled performers, and while I´ve already said it a thousand times, I have to mention again how exceptionally great a drummer Eloy Casagrande is. He is just the energy boost and creative rhythmic mind that Sepultura needed to elavate their music to new heights.

The material on "Quadra" is as you can imagine from the desription above quite varied and adventurous in nature. There is a musical red thread throuhgout the album though and it´s always audible that you´re listening to Sepultura. It´s just the most eclectic version of the band rearing their head here. I´m actually amazed how well they make all the different musical elements work within their sound and how they avoid making those elements sound like they were forced upon the songs. Semi-symphonic parts, fast technical harmony guitar/keyboard runs, middle eastern scales and creative rhythmic ideas, are just some of the elements which make up "Quadra". The closing track on the album "Fear, Pain, Chaos, Suffering" even features female clean vocals (performed by Brazilian singer Emmily Barreto)

"Quadra" is well produced, featuring a powerful and detailed sound production, which suits the material perfectly. I could maybe have wished for a slightly more organic drum tone, but that´s my subjective opinion, and it´s a minor issue. So upon conclusion "Quadra" is a high quality release by Sepultura. To those who found "Machine Messiah (2017)" to be a fresh sounding and eclectic release (which it definitely is), "Quadra" pushes the boundaries of Sepultura´s sound even further and this is a release for those who enjoy Sepultura when they are most adventurous and creative. So while there are fast thrashy parts and heavy grooves on the album, this is not a return to the the band´s sound of the late 80s/early 90s. Sepultura have moved on and they now utilize elements from all their previous releases and add new ones to the palet and as a result have created another strong release. A 4 star (80%) rating is deserved.

SEPULTURA Quadra

Album · 2020 · Thrash Metal
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Kev Rowland
After Max Cavalera left Sepultura I, and it must said, a great many other metalheads, felt the band lost their way somewhat and that Green just wasn’t the same type of frontman. After some years they also parted ways with Igor, bringing in Eloy Casagrande, and somewhat surprisingly for me they started to have some sort of resurrection. This started with 2013’s ‘The Mediator’ which took me somewhat by surprise, as it was easily the best album since ‘Roots’ and then in 2017 they produced ‘Machine Messiah’ which just blew me away. What on earth had happened to the band? They were back punching way above their weight producing metal with real power, heart and soul, and when I saw them on tour (supported by Death Angel!) I finally appreciated the force and presence of the guys.

It may have taken three years for them to come back with ‘Quadra’, but this time around it was an event people were waiting for as opposed to just another Sepultura album with Derrick Green on vocals, and if anything the guys have ramped it up again. They have even brought in some traditional percussion on “Capital Enslavement” – it will be nice for guest drummers to have more than just “Roots, Bloody Roots” to play along with at festivals. This is brutal groove thrash metal which looks back to their past but is also looking forward. This quartet have been together for 9 years now, with this being their third album together, and it shows. Paolo and Eloy are joined at the hip, while Eloy is being so incredibly free in his attack and adding real dynamics and aggression to the overall sound. Andreas Kisser has a monstrous deep and dark sound, and all power to producer Jens Bogren for capturing it. Then at the front there is Derrick Green. For many years he has suffered just by not being Max and was never really given the acclaim he should have been. That seemed to change virtually overnight with the release of the last album, which metalheads rightly raved over, and here he has dropped whatever weight was pulling back and he is a man possessed – it is amazing what confidence can do to a singer. It may have taken more than 20 years for the band to move on and create their own destiny, but they finally have and with ‘Machine Messiah’ to build on they are yet again taking their music to a whole new level.

This isn’t the band that gave us ‘Roots’, half of that line-up has departed, instead this is the band which has given us ‘Quadra’, for which we should all be grateful.

SEPULTURA Machine Messiah

Album · 2017 · Groove Metal
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Kingcrimsonprog
Machine Messiah is an absolute rager of an album. In terms of quality, this is one of Sepultura’s best albums period. Of course you’ve got Chaos AD if your ears work, then there’s always either Arise or Roots depending on if you are a Thrash or Nu Metal fan and that’s more or less the way the Metal history books have kept it for years. Now however, this album and its follow up Quadra should rightly be considered absolutely essential Sepultura listening. (In fact, personal preference and sacrilegious though it may be, I would argue this and Quadra and joint second place behind only Chaos AD).

When you look at the cover image for this record, you could reasonably expect it to be some sort of modern version of Arise, like how some veteran bands tend to harken back to old covers when they are going back to their roots. However; stylistically, this album is a whole new kettle of fish.

There’s quite a bit of variety. The album opens with a slow and moody title track with clean vocals. Midway through there is a very proggy instrumental with melodic sweeping virtuoso guitar work. Towards the ends there are a few tracks with additional musicians, like violins and horns, creating a very cinematic and grand sound.

The core sound of the album though, is just really well written, modernised and exciting variations on the band’s signature Groove Metal style, but with much more twists and turns, syncopation, swing and outstanding levels of musicianship. The drums and lead guitars in particular are beyond impressive. Eloy Casagrande is arguably the best drummer they’ve ever had and Andreas Kisser hasn’t just stagnated as a guitarist, he has pushed himself to new heights. This is leagues above anything they were putting up in the first decade after Max left.

I’d usually like to list highlights at this point, but to be honest, there isn’t a wasted moment on the whole disc. ‘Phantom Self’ has the riffs, ‘Iceberg Dances’ and ‘Cyber God’ have the solos, ‘Vandals Nest’ and ‘Resistant Parasites’ have the drums, ‘I Am The Enemy’ and ‘Silent Violence’ have the vocal hooks, and ‘Machine Messiah’ and ‘Alethea’ just have the general cool factor. Its one of the best single collection of songs the band has ever produced.

Clocking in at a tidy 46 minutes without overstaying its welcome and featuring just 10 songs every single one of which is memorable, this is as close to a perfect album as you can get. The best thing is that it just gets better the more you listen to it. I thought it was good the first time I heard it, but the more I spin it, the more I discover. The more I discover the more I love. It just keeps on giving.

Overall, this is a superb album that I whole heartedly recommend without hesitation or caveat. In fact, if you like any other Sepultura album but don’t own this, I downright insist you check it out.

SEPULTURA Quadra

Album · 2020 · Thrash Metal
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Kingcrimsonprog
Ever since Max left, legions of fans have been turning up their noses at new Sepultura albums with a verve normally saved for Bailey-era Maiden or Ripper-era Priest, but with a duration equivalent only to Derris-era Helloween.

Every so often, I’d see someone who really liked a Green-era Sepultura album, or an album like Dante XXI get a positive review in a magazine, but on the whole, the vast majority of the public seem to have decided that the band was over when Max left. Me included until about 3-4 years ago, when I bought their Live In Sao Paulo DVD on a friend’s recommendation and slowly started collecting the studio albums with Derick.

When I started collecting Green-era albums, I felt almost like a bit of a weirdo collecting them though, as despite my one good friend’s fandom, I almost fear I am wasting my money on albums so ignored and dismissed by the public. 90% of the time if I read something about Sepultura it was about how great the olden days were, or about how unloved the latter days are.

Then something interesting happened. In 2017, Sepultura released Machine Messiah, and it seemed like every review, blog, facebook comment and stray discussion was positive. Not just ‘good for a modern Sepultura album’ but full on, unqualified praise. Good, period. Sepultura, the band who could do no right in the public’s eye, had released an album everyone if not liked, then at least agreed was good. Maybe it was the Dream Theater influenced ‘Iceberg Dances’ that swung the pendulum of public credibility? Who knows. The bottom line was Sepultura were praised again.

I don’t know if aforementioned praise has revitalised their confidence, or they just landed upon the perfect line-up and got better with each album featuring that line-up, or indeed if its just inexplicable lightning in a bottle no one could predict… but 2020’s Quadra is a masterpiece. Its not ‘good for a modern Sepultura album’ its more like ‘possibly the best Sepultura album.’ This is undeniable album-of-the-year material, but more than that. You know when you hear an album, and you just know its special. Crack The Skye? The Blackening? Endgame? Sometimes you just get that ‘I’m hearing something special’ feeling, you know it’s a classic even before time has passed.

Its damn tempting to say the secret to this album’s success is drummer Eloy Casagrande. The man is quite possibly the best drummer in the genre right now. He throws in latin and world music beats sure, it is Sepultura after all; but he can also Thrash like Dave Lombardo, prog out like Thomas Pridgen and bounce like John Otto. Just listen to drum-centric ‘Raging Void’ and then all out Thrasher ‘Isolation’ one after the other to see what I mean. The man is amazing.

Another thing that its tempting to attribute the albums startling quality to, is the bells and whistles. Its almost like a Fleshgod Apocalypse album at times with the God-Of-War style hell-choirs and apocalyptic sounds, guest female vocals and dynamic production job. The album sounds gigantic. It sounds like an actual giant. Just listen to album closer ‘Fear, Pain, Chaos Suffering’ to see what I mean. It sounds like a videogame boss-fight where the player faces off against a giant/titan/colossus/take your pick of huge thing.

For a while, I also thought the secret to this album was the lead guitar. OK, I like Andreas Kisser, and for the past few years I particularly liked his rhythm work on tracks like ‘Choke’ and ‘Sepulnation’ …but I’d never consider him an amazing guitarist. Over the years however, he has clearly been listening to a lot of prog metal and become a crazily good lead player. Some of the guitar solos and leads on this record are fantastic. So unique, so interesting, so invigorating. Just check out the instrumental ‘The Pentagram’ or the track which follows it ‘Auetem’ for solid guitar gold.

All those factors certainly contribute to what elevate this album to that ‘special’ place, but I guess the main factor is simply the song-writing and the flow. Every song is needed. Every song contributes something new, but works well against the previous material. There’s no filler, but there’s no repetition either. It strikes a hell of a balance.

Furthermore; Where some other Sepultura albums like Nation or Kairos are jumbled and too varied for their own good, and others like Roots and Against are bloated and in need of an editor, this album just feels like one perfect, consistent, cohesive, singular journey. Wikipedia states it is structured in four parts, to represent the four classical arts, but it really flows like one story from beginning to end. It starts out fast and mean as hell, turns groovy, gets varied then turns prog. Sort of a summary of their career over the course of one record.

Overall; this is one hell of an album. A monster against which all their future efforts will be judged. An amazing sequel to the lauded Machine Messiah and a new standard for quality for aging bands in general. If you had told me in 2005 that Sepultura would release an album this brilliant this late in the game, then I’d have been very sceptical, but I’ll be damned it seems they’ve only gone and released arguably one of the best albums in their whole career

(Ps. For context; as above, this is coming from someone who spent the better part of the last 20 years thinking this band essentially began and ended with Chaos AD and the first half of Roots, so you can trust this is not just blind fanboy devotion).

SEPULTURA Beneath the Remains

Album · 1989 · Thrash Metal
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UMUR
"Beneath the Remains" is the 3rd full-length studio album by Brazilian thrash metal act Sepultura. The album was released through Roadrunner Records in September 1989. Sepultura was formed in 1984 and released an early death/thrash hybrid in "Morbid Visions (1986)" and followed it up by the more purely thrash metal oriented "Schizophrenia" from 1987. By that time very few outside Brazil had heard of Sepultura, but that would radically change when they were picked up by Roadrunner Records, who gave "Beneath the Remains" a worldwide release. An almost instant hit among thrash/death metal fans the world over, "Beneath the Remains" to this day remains one of the seminal thrash metal albums in the brutal end of the scale.

Stylistically the music is aggressive and energetic thrash metal with the raw barking vocals of Max Cavalera in front. While the music is thrash metal to the bone, Sepultura was often associated with the early 90s death metal scene, and there are indeed some death metal traits to be found on "Beneath the Remains". The death metal influence is predominantly a result of the Morrisound Recording sound production courtesy of Sepultura and Scott Burns. "Beneath the Remains" was recorded in Nas Nuvens Studio, Rio De Janeiro, Brazil in December 1988, but mixed at Morrisound Recording, Tampa, Florida. It´s one of the first thrash metal releases to be graced by such a meaty, brutal, and heavy sound production, and the sound made the album stand out upon release.

Of course that wouldn´t have been enough, if the songwriting didn´t follow suit. But the material on "Beneath the Remains" is generally very well written and memorable. Personally I´ve always felt that the first part of the album is slightly more memorable than the second part of the album, and especially tracks like "Inner Self", "Stronger Than Hate", "Mass Hypnosis", and the title track stand out. The quality and catchiness of the remaining tracks are really high too though. The greatest asset regarding the material is probably that it has a unique sound. Many artists can play and write moderately interesting material, but Sepultura wrote material for "Beneath the Remains", which sounds original. You know almost instantly that it´s them playing when you hear the music.

In addition to the fast-paced thrash metal riffing, and the mid-paced heavy grooves, the music also features a couple of atmospheric parts, and some blistering solo work. The latter is both fast-paced screaming chromatic solos and more melodic themes and solos. The musicianship is strong and although Max Cavalera is a pretty one-dimensional vocalist with greatly accented vocals, his voice and phrasing still suits the music well.

So upon conclusion "Beneath the Remains" is arguably what you´d call a thrash metal "classic". It´s not that there aren´t artists out there who hadn´t released more ferocious material before this album was released (Slayer, Possessed, Kreator/Sodom/Destruction, and Dark Angel, just to mention a few), but Sepultura still managed to put a more brutal twist on thrash metal that helped build a bridge to death metal without being death metal, and that was something pretty new at the time. At least in the perfected form as it´s heard on "Beneath the Remains". A 4.5 star (90%) rating is deserved.

SEPULTURA Movies Reviews

SEPULTURA Sepultura - Live in Sao Paulo

Movie · 2005 · Groove Metal
Cover art Buy this album from MMA partners
Kingcrimsonprog
Sepultura have a good few options if you are into live material. There is the Chaos DVD with the Under Siege video on it with the band touring Arise and playing all their Thrash era songs. There is the Under A Pale Grey Sky cd with the last ever gig of the Max Cavelera line-up on it, playing a lot of material off of Roots and Chaos AD. There is the newer Rock In Rio DVD with the Les Tambors Du Bronx percussion group augmenting them. There’s also plenty of live material on bonus tracks and compilations.

Best of all however, is Sepultura Live In Sao Paulo. It was the first video album with the Derick Green line-up, the first time you got to see and not just hear live versions of material from Roots and Chaos AD and its the only place to hear straight up unaltered versions of material off the Derick Green albums. It was released in 2005 when they were touring Roorback, back when they were still a Gold-selling band.

You get to hear an amazing blend (21 songs!) of material all the way from their earliest EPs and albums with early material like ‘Necromancer’ and ‘Troops Of Doom’ beside the mega-hits from the ’90s like ‘Territory’ and ‘Roots Bloody Roots’ mixed in with more modern gems like ‘Choke’ and what has to be one of the band’s best ever songs in ‘Sepulnation.’ (For me, its in the top 5 songs they ever recorded, any era).

Visually, the album is great. Its really well shot and edited, with no fancy distracting weird camera angels or lenses and no too-fast music video style choppy cuts. The stage set up and tasteful circle of lighting around their tribal ‘S’ logo banner looks really great, and the soundjob and mix are perfect. Sometimes the guitars or the vocals can be too quiet in a live recording, or some times the drums have way too much reverb, or sometimes you can’t hear the crowd’s energy; but here everything is perfectly balanced hear and it all sounds thick and chunky.

The band’s performances are excellent and it really shows off what great musicians they are. I never ‘got’ how good a drummer Igor is until I saw this! I didn’t much care for Derrick Green as a frontman before I saw this an it utterly changed my mind.

It looks great, it sounds great, the tracklist is great and the band play great. What more could you possibly want? Oh well, if you still do want more there is an absolute tonne of extras, with music videos, more live songs, a short making of documentary and biography, a bigger documentary about the band from 1998–2005 and other stuff as well (photogalleries etc.)

Overall; this is a damn strong release from a very important band, and there’s so much on it its great value for money. If like me you were skeptical on them without Max in the band, go on youtube and check out live versions of tracks like ‘Chaos AD’ and especially ‘Sepulnation’ off of this and just try not to be converted! If you are new to the band altogether this is a great starting point blending the best parts of all the eras together.

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