106.7 KBPI Presents


Sepultura, Prong, Dying Gorgeous Lies

Sat May 06 2017

6:00 pm

$10.67 - $140.00

Sold Out

This event is all ages

The forbearers of thrash resemble a Lovecraftian brotherhood. They're the elder gods who set everything in motion for generations to imitate, while still ruling the roost from on high.

TESTAMENT stand proudly among the same vanguard that boasted "The Big 4" and beyond.

For over three decades, the Bay Area quintet - Chuck Billy (vocals), Eric Peterson (guitars),

Alex Skolnick (guitars), Steve DiGiorgio (bass), and Gene Hoglan (drums) - has consistently delivered unadulterated, unbridled, and unbreakable metal in its purest form without
compromise or any signs of slowing down. Over the course of seminal releases ranging from »The Legacy« and »Practice What You Preach« to »The Gathering« and »The Formation Of
Damnation«, which won "Best Album" at Metal Hammer's 2008 Golden Gods Awards, the group's sales exceeded 14 million worldwide with 2 million in the U.S. alone. Most recently, 2012's critically praised »Dark Roots Of Earth« assaulted the charts, moving over 20,000 first-week copies and seizing #12 on the Billboard Top 200, the band's highest U.S. chart bow ever. However, in 2016, TESTAMENT return with more teeth than ever on »Brotherhood Of The Snake« (Nuclear Blast).

"The first record is always classic because you form the band, you're totally into it, you go through the club scene, find yourself, and write your initial album over multiple years," explains Eric. "Then, you get signed and end up in a cycle. We took some time to do »Brotherhood Of The Snake«, and it shows. Different influences came in. Normally, there are a few straight ahead thrash songs. We haven't had this many thrash tracks since »The Legacy«.

It's a new era."
Reason and action with emotion

On the eve of completing 30 years of existence, Sepultura met with producer Ross Robinson, with whom they had worked 18 years prior on the masterpiece "Roots", to build together the new disc by the most internationally successful Brazilian rock band. Recorded between June and July of this year, the album "The Mediator Between Head and Hands Must Be the Heart" is scheduled for release on October 25 via Substancial Music in Brazil and Nuclear Blast worldwide. On their 13th studio album, Sepultura retains the characteristic critical stance in their lyrics. Musically, "The Mediator" is a bomb, varying between fast, aggressive and brutal songs with others in which the weight of the groove forms a true wall of sound.

In a world controlled to the smallest detail by those who hold power - political and financial - from advertising (what Noam Chomsky defined as the model building consent through discourse, or, simply, manufactured consent) to civilian espionage and theoretically sovereign states, Sepultura found in the classic German expressionist film, Metropolis, the perfect metaphor for the lyrical vibe of their new work.

With lyrics of Andreas Kisser and Derrick Green keeping the tradition of challenging the socio-political ills of our society, we hear Derrick howl against the traumas of wars waged in the interest of select groups, passing through an ironic historical review of the Vatican, and critique of inconsequential consumerism induced in a social environment that values "to have" over "to be," not to mention the manipulation of public opinion through tightly drafted speeches or political rhetoric (including all religions, it should be noted) that lead people to accept conflict or engage in conflicts that do not concern them. It is a wake up call for people to use what differentiates humans from other animals: the ability to ponder reason and action with our heart (emotions).

Musically, "The Mediator Between Head and Hands Must Be the Heart" can recall elements and striking characteristics from the entire history of the band, but without sounding repetitive. In fact, "The Mediator" is a unique album, since it doesn't really resemble anything the band has done before. Ross Robinson's production gave the disc amazing guitar and bass tones. Heavy, cavernous, apocalyptic. The chaotic and gloomy atmosphere of Metropolis is masterfully reproduced on the album, taking the listener on a journey through a sullen and aggressive world. Derrick Green shows all of his versatility, ranging from guttural death metal to baritone. Andreas Kisser once again shows why he is the master of riffs and great guitar solos, something carried over from "Kairos". And Paulo Xisto does the best work of his career with excellent bass lines.

"The Mediator" marks the studio debut of drummer Eloy Casagrande with Sepultura. And the young musician presents his business card with a furious performance on the opening track, "Trauma of War," one of the more heavy, brutal, and aggressive songs in the quartet's history. Next, "The Vatican," with an epic keyboard introduction composed by maestro Renato Zanuto that sounds like the organ from some macabre ceremony, merges smoothly with hellish riffs and double bass drums. "Trauma of War" and "The Vatican" showcase a Sepultura with elements of death metal that have not been heard since "Schizophrenia," in 1987, even using blast beats (that's right!) in certain passages.

In "Manipulation of Tragedy," the band manages to sum up its 30-year career in four minutes. Sharp and sinister riffs, fast and aggressive drums - in the vein of thrash metal - intersperses with the weight of the groove and opens space for the Brazilian side of Sepultura with its percussive elements. "The Bliss of Ignorants," with its haunting tone, is another track where the quartet shows what differentiates them in the worldwide scene of heavy metal: weight and aggressiveness with the characteristics of Brazilian percussive rhythms.

The participation of legendary drummer Dave Lombardo (ex-Slayer, ex-Testament) can be heard in "Obsessed," a song that promises to be seen in the setlists of the band's next concerts. Featured, also, is the introspective and melancholy "Grief," one of Sepultura's most beautiful songs. A clean guitar tone opens up space for Derrick to explore his baritone in this emotional passage. The heavy guitars embedded in excerpts of the song retain the sorrowful mood, a tribute to the victims of the Kiss nightclub, Santa Maria - Rio Grande do Sul.

Finally, the cover of "Da Lama ao Caos" (meaning "from the mud to the chaos"), originally by Pernambuco's Chico Science and Naçao Zumbi, which was presented last Sunday (the 22nd) at Rock In Rio. With Andreas Kisser on vocals, Sepultura presents a version that lives up to expectations. The weight of thrash metal pays homage to the Manguebeat. And at the end, a hidden track that fans will rave about (but this is best kept as a surprise).

Without wanting to imitate the past, and looking toward the future, "The Mediator Between Head and Hands Must Be the Heart" presents a modern and powerful Sepultura. Were it released in better times of the music industry, this album would meet the conditions to be as commercially successful as "Chaos AD" or "Roots."
CBGB's was THE venue of an era; an embodiment of what it meant to be in a band, striving for everything you got. In many ways the birthplace of American Punk and the No Wave movement, one can say the music created there was -at its very essence -- a revolutionary influence, and its corrosive nature has infected millions of people through the years. One in particular, a soundman on the staff, was tainted by the experience, changing him into an iconic corner stone of metal; I am, of course, referring to Prong's very own Tommy Victor.

Dissonant, dark, detached -and at times rather deranged --Tommy Victor, founder and frontman of Prong, always swings his riffs low, hard and squarely at your skull. Victor never did 'happiness' and Prong didn't necessarily give a shit about making the 'feel good album of the year'. For Victor, high-praise is best served in the packed clubs and sweaty mosh-pits he plays in around the world. This is all the proof he needs of a dedicated fan base which never misses the band's shows, and loyally buys albums while 'critics' consistently miss the boat. Every time Prong was ignored by the mainstream -whilst revered through the underground --or ripped off by lesser, spineless musicians who don't have a creative pot of their own to piss in - Prong just got harder, stronger and more pissed off. It fuelled them even more, and drove them even further. This is not your parent's band; this is brutality with no regrets amplified, distorted, and turned up to 11.
Venue Information:
Summit Music Hall
1902 Blake St.
Denver, CO, 80208