Label: Nuclear Blast Records
Release date: February 7, 2020
Production: Jens Bogren
Album length: 51.14 min
It’s honestly kind of unbelievable that the Brazilian band Sepultura are still going strong today. And they clearly don’t give a damn about the old days. The current lineup isn’t exactly the most popular either, but in recent years, and especially with their last few albums, Sepultura have proven they’re worth paying attention to. They surprise with every record, because they’ve managed to raise the quality of their music.
Not only does Sepultura keep trying something new musically, they also approach the lyrics in a more intellectual way, which shows above all in their interesting concepts. Like their previous releases, Quadra has something to say through its concept. The album’s name simply refers to the number four, and the album is supposedly based on numerology. But there’s a bit more behind that concept. You could also say the album is split into four parts. A set of three tracks makes up one element, and after a few spins it’s clear that Sepultura divided the album into four parts stylistically too. So, just like its predecessor Machine Messiah, Quadra is full of surprises thanks to its variety.
The first three tracks, Isolation, Means to an End and Last Time, are reminiscent of the classic era. The songs are faster and more thrash-leaning than the band’s golden period, which is still the most cherished among fans today. Sure, the songs don’t reach the heights of the classics, but they’ve got enough power and intensity to keep you listening. There’s nothing to complain about in the playing. Andreas Kisser can still write powerful riffs and solos. The wonder kid behind the kit, Eloy Casagrande, proves himself again very quickly, and he’s without doubt the best drummer Sepultura have had so far. But on the fast tracks Casagrande doesn’t show all his aces yet. You can tell, though, where the band was aiming this time. Last Time also features a choir, which lets you know the band isn’t going to take things lightly.
The next three tracks, Capital Enslavement, Ali and Raging Void, show a slightly different side of Sepultura. There are similarities to Chaos A.D., Roots and also Against. The songs have more groove, and not everything is built on speed. Definitely an interesting turn, but nothing unusual for Sepultura. Definitely an interesting turn, but nothing unusual for Sepultura. The style the band is known for is still there. There are no major departures, but the diversity is already showing.
With Guardians of Earth, The Pentagram and Autem, you get a kind of picture of the band as it is now. Guardians of Earth, with its acoustic intro that’s later joined by a choir and percussion, is structured in a pretty unconventional way. Every member shines in their own way and shows a different side. Next comes the excellent instrumental The Pentagram, where Casagrande once again shows how crucial a member of the band he is. The track peaks with a breakdown of the kind you’d usually hear from more technical bands. After that they return to the heavier side with Autem, which could be seen as a counterweight, but it’s a logical move.
Sepultura surprise all the way through the album, but the closing stretch completely blindsides you. After the short acoustic track Quadra, Sepultura serve up Agony of Defeat, which starts out calm, and Derrick Green proves himself as a singer once again. If Green ever seemed one-note, this time he wins you over with a melodic vocal and a feel for melody. A choir and orchestration add to the pomp. Through it all it’s clear the band approached this thoughtfully and picked a fitting producer to match. Quadra closes with Fear, Pain, Chaos, Suffering, which features the female vocals of Emilly Barreto from the Brazilian rock band Far From Alaska. A bit of a bold move, but that’s exactly what gives the album its finishing touch, showing once more Sepultura’s knack for experimenting. It’s admittedly the slower part of the album, but because the songs are written so inventively, the whole thing never feels monotonous.
Given their age, you’d expect Sepultura not to complicate things and to just enjoy their comfort zone. But Quadra confirms that the band still wants to experiment and play more demanding stuff, so it’s no surprise that this is a rhythmically more dynamic album too. The members gave it everything they had, and sure, some stand out more than others, but you can hear everyone’s effort.
For production, the band once again chose the experienced Jens Bogren (Kreator, Opeth, Amon Amarth), who managed to silence many critics with the previous album, Machine Messiah. And this time is no different. The songs are written inventively, and the sound is rich and modern. The whole thing definitely doesn’t sound cheap the way some earlier releases maybe did. Sepultura gain more and more confidence with every album. With Machine Messiah they showed a clear vision, which they’ve managed to even build on with Bogren. There are certainly elements the band has used before, but with a bit of freshness and some surprises, Sepultura show a sense of natural progression, and it’s more than worthy of respect that there are still new things in the mix.
With Quadra, Sepultura have proven once again that they’re far from done. Quadra surprises with its punch, its variety and even its pomp. Definitely another album that will win Sepultura plenty of new fans. And plenty of people will be wishing Sepultura keep going in this direction.
9/10
Lineup:
Andreas Kisser – guitar, backing vocals
Derrick Green – vocals
Paulo Jr. – bass
Eloy Casagrande – drums
