Metal masters SOULFLY release new album CONQUER on Monday JULY 21st (digitally, 28th JULY as a CD or CD / DVD). The reviews are starting to come in now and Kerrang! have given it a killer KKKK rating! Check out the review below:
Archimedes Once claimed that, given a long enough lever and a solid enough fulcrum, he could move the earth. He could have used Max Cavalera’s career as his pivot. Not everything the man’s put his name to has borne the mark of genius but he has had more brushed with the concept than most and, despite a prodigious output with Sepultura, the suitably explosive Nailbomb, current day-job Soulfly, Cavalera Conspiracy and a host of one-off collaborations, the dreadlocked Brazilian grower barely has a truly duff track under his belt. Okay, on Conquer you have the largely superfluous Soulfly VI, continuing the tradition of the self titled track on each Soulfly album and closing their sixth in a wash of Santana-style guitar meandering. It’s hardly an earth-shattering conclusion but before the point is a typically rock-solid affair punctuated by flashed of brilliance.
Last album Dark Ages was heralded as being at least a partial revisitation of early Sepultura territory and, while Conquer is not quite as full-on it does retain that sense of blinding ferocity in places. Fall Of the Sycophants is a straight-ahead Slayer-esque thrash-out while Warmageddon does indeed sound like the Apocalypse condensed into a small room with every window bolted shut. This being Soulfly however, there is of course still non-standard music augmentation scattered all over the place, plus those obligatory tribal rhythms and chugga-chugga grooves.
Opener Blood Fire Hate kicks things off like a mantra of destruction, with Morbid Angel’s David Vincent lending his growl to the rumbling, repetitive chant. Guest appearances are another staple of Soulfly albums and Throwdown’s Dave Peters join the party on the jaw-dropping Unleash, which combines what sounds like a theremin with gnashing guitars, swirls of synth and kick-in-the-bollocks brutality. Touching The Void utilises a Sabbathy doom riff with space rock leaning while the ironically far less doom-laden Doom switches from hook-laden hollering to a deep reggae groove.
The individual elements might change but the underlying tendency – one rumbling, head-pounding metal enhanced from a wide palette of experimental colours – remains exactly the same. From that standpoint, this might be ‘just’ another Soulfly album but it’s still one packed with enough invention, aggression and sheer quality tunes to make most other metal bands blush.