Sepultura Endurance (2017) - full transcript

"NOTHING IS SO PAINFUL
TO THE HUMAN MIND

AS A GREAT AND SUDDEN CHANGE."

"NOTHING MAY ENDURE,
BUT MUTABILITY!"

30th ANNIVERSARY SHOW
S?O PAULO/BRASIL

XAVANTES TRIBE
Brazil - 1996

I'm Paulo,
I'm the bass player.

I'd like to thank
the opportunity

of doing this project.

I believe is very important
for our culture

to show the world

what we are going to do in
these two days. Thank you.



You gotta make it neat.

Roots!
Bloody roots!

- Now in Castillian.
- Ra?ces, sangrientas ra?ces.

- Sangrientas...
- Sangrientas.

2011 - SEPULTURA RECORDS
THE "KAIROS" ALBUM

AND GETS READY FOR ITS FIRST
AMERICAN TOUR IN 5 YEARS

RECORDING IN PROCESS
ONLY PERSONNEL ALLOWED

MUSIC PRODUCER

- In the end.
- Nice.

It goes directly to the riff.

The album starts like that...
And then...

Yeah, and it's gonna be awesome.

And the third goes like...

No... It's gonna be like...



It's a great sequence.
At least these three are.

That's why we were
talking about it in this order.

It's crazy, because when I was
like 11 or 12, I don't know,

then was when I went
to the first rock

or metal concert of my life.

It was a Sepultura concert,
Arise tour.

I saw this concert
and spent my life searching for it

as both as a musician
and as a person.

I wanted join a band,
to play to many people.

Being a part of it.

And, after having this history,
after all these years,

I'm here with these guys.

Can you hear it?

At least playing it,
it seemed amazing to me.

We're here at the House of Blues
in Hollywood.

Jean and I are heading to

the Music Institute

for a workshop.

Which one is the zoom button?

- Isn't it the one at the top?
- Oh, that's right.

Go already...

Turn to the right.

This is something I can't seem
to understand. This circus.

To go on a bus like that...

God.

This is the Celebrity Route Map

- passing by celebrities' houses...
- That's true!

"Robert de Niro lives here".

And then they can say whatever.
Because they'll never be home.

Look at this house...
It's weird.

They don't even live there!

Who is it for?

It's for T?o.

For the chubbier baby.

- So that I can guide him.
- Chubby.

Family.

Today it's Mother's Day
back in Brazil.

It's all around the world, isn't it?
Mother's Day.

Mother's Day!

Where was this picture taken?

Today it's going to be our
11th concert with no day off.

We got snow in Canada,

and an intense heat in Florida.

Now it's a scorcher out here.

It's 11 pm now and it's
around 28?C,

but it really fells like 35?C

since it's damp.

Well, let's try
to do one more concert.

There will be 3 more in Texas and we'll
have a day off in the middle of nowhere.

But let's do it. Not showering,
not sleeping,

but making it worth it.
It's awesome in here.

It's tough.

The worst is we're not
even halfway through.

I play everyday for many people.
I play with Sepultura, etc.

But, on the other hand
I'm away from my family.

In 2010 we spent
five months in Europe.

It's surreal.

And it's crazy,
you lose touch with...

You come back home
and you're a stranger.

It takes some time
to reconnect to people.

It feels strange.
To get back on track.

It's like growing
something you believe in.

There's no other way to go.
Otherwise, you become a puppet.

In the end, you gotta do
something you believe in.

If you don't believe it anymore...

I'm not going to make you
believe again.

We have this amazing album
in our hands.

You're getting your name out there.

You know your name is getting
bigger and bigger.

Among the sponsors and among
people who see you playing and say:

"I haven't seen this dude before.
Where was I?"

You're creating something

that you being on Sepultura now
or, in the future, not anymore,

you'll make opportunities to go
wherever you want.

There's not one concert where
you look at me

- and I'm not on fire.
- No doubt.

There's not a single one!

-So, I just wanted you to know,
-I know.

-that what I'm living now,
-I get it.

Being away from my family is
driving me crazy,

way more than...

Money? Sure!
You go crazy with it.

You have to pay bills,
your own stuff, clearly.

I am a father and I have
to provide for them all.

- But, man...
- Jean...

This "being away" thing...

Philosophically speaking,
you'll only be a father for them

if you are here.
Living in the present. You see?

It's not a matter of being there,
your thoughts being there.

You are here. It's no use.

Take my daughter Giulia's party
as an example,

if I'd thought like:
"Man, I could have done x and y".

I'd have crumbled and fallen apart.
You can go there.

But I call her and we talk.
I say I'm here working hard.

I hang up, I look outside the window
and I'm in Houston, in Texas.

I look for a Caf? Brasil to eat
and buy silly stuff?

I can't keep thinking
about the party.

My hair is going grey,
when not falling off?

You start developing problems.

You stop living
and start falling apart.

You spend some time in Brazil,

with a friend,
doing whatever. And that's it.

That's it.
And you weren't here.

The same happened to Igor.

Exactly the same thing.
He started to fall apart.

His body was here, but when he spoke,
you could feel him leaving.

He went to Brazil in his mind
and stayed there.

He was neither here or there.

There he fought a lot,
and back here he was playing badly.

That's not your case.

But in the end, you know?

He wasn't here not even
during the concerts.

Well...

I don't know, man... It's a matter
of acknowledging who you are.

I am trying to help.
I know it's tough.

And then you tell me...

I started my family around the same time
of "Roots". We were killing it.

I bought myself a Harley Davidson,
built a pool in my house.

Then you leave and you got 2 kids at home,
Yohan had just been born.

And we got on a rhythm
we had never been before.

And now we're back to it.

I'd love to have...

Slayer doesn't have what Metallica has,
that is performing whenever they like.

Megadeth can't pull that off.
Anthrax neither.

- Nobody can.
- Well, U2 can.

Oh well...
That's another situation.

It's almost
an unattainable thing.

But that's it.
You should live in the present?

Because this present will
strengthen your bonds.

Your family will see you're here,
body and soul,

doing whatever it takes
to provide for them.

You are a musician. Period.

Even if you want to do
something else,

you will never be as good at it
as you are as a drummer.

Anyway, man, I know it's a struggle.
It's hard, but...

In the end, you look over
your shoulder and you see...

This experience is
incredibly enriching.

You'd regret it for the
rest of your life.

- No, man.
- It's not that.

It's not, these are options.

In the future
you'll think "Damn".

The thing is: making a decision
with much going on.

No, I am not.
That's what I'm...

It's obvious you'll run
to the safer side.

I brought this up exactly
because of this.

I needed...
Who else could I talk about it?

Just you guys.
You are around.

I spend with you almost
the same time

I spend with Nanda.

Well, these are the two
families we have.

- Sure.
- We might not call it as such, but it is.

- We can't deny it.
- It could be much worse.

- Obviously it could.
- Our bond here is really good.

As a group, as a band.
It could be a living hell.

The driver could be an ass.

Anyway, the glass
is always half empty and half full.

I think you should... well...

My point of view is always
slightly more positive.

Yohan loves rock,
he wants to be a musician too.

There's this influence.
It's all about the example set.

It's all about what
they see and feel,

it's more than
anything I might say.

But it's tough,
there isn't one day that...

talking to Patricia isn't hard.
It's really hard.

This is the balance
I've been seeking.

That's the point.

In fact,
that's the hardest thing.

Nothing good and...

worth it comes easily.

There's no such thing.

Are you filming all of this?

ROCK IN RIO 2011 REHEARSE

Jean stuck with us.
Recorded two albums.

It was a good time, really positive
then he left after Rock in Rio 2011,

after that amazing concert where we
played with "Les Tambours du Bronx".

AUDITION

Instead of the guitar doing it...

Without the bass drum.
It doesn't have to be hard.

Then it goes, like eight times.

Then the guitar comes in.

- Alright.
- The guitar comes in and we both stop.

- Then it's like in the album.
- I got it.

It's intimidating, when you play
and adrenalin pumps, time goes faster.

I don't remember lots
of the things I went through.

When you play in a band
you appreciate the style,

when you're already a fan

it's priceless.

This is what I've always wanted,
and I've always searched for.

Well, I think it was great.

You also felt good, even though
I couldn't hear anything.

- It's an honor being here.
- Come on. Thank you.

I've listened to you guys
for a long time now.

Sometimes you stop
and look back to all the history.

Sometimes, you go like:
"Man, I'm still here,

doing this,
after all these years."

You have some flashbacks,
like d?j? vu,

and you say:
I guess I've been here before.

But, I think this is a part?

I guess every human being
is like that.

When people ask: "Do you regret
leaving Sepultura?"

No. Not to have left it.

I do regret, tough
not having lived

with the guys
now that they're mature.

They were really childish.

Back then, we were spotting
people in our own city that liked it.

It was a sort of movement
that grew

but we didn't know each other.

Then, I went to this bar,
which was in Savassi

because of this song
that was playing.

I met Max and Igor there.
And I said:

"I heard you guys have a room,
and that you'll play there

that there is music and there's
this band. And I'd like to see it".

And they said "Do you also play?"
I said: "Sure".

Then there was a rehearse
at Paulo's house.

Then I went to see them playing

and I got horrified.

It was really bad.

I guess that was the worst thing
I had ever heard in my life

that you could actually
call a band.

It was incredibly bad, really.

I couldn't understand a thing.

They just made noise.

Wagner, who later went
to Sarc?fago, screamed a lot.

Then I said:
"What is it?

It has nothing to do with the song
I'm listening to.

I want to play metal,
but this kind of song is weird."

Then, I started to play

and to show some things

that later became "Necromancer"
and "Troops of Doom".

Then, Max said:
"Is it yours?"

"Yes, it's mine."
"That's nice."

"Do you want to join the band?"
Yes, I do.

But only if we could
make some changes.

He said: "What kind of changes?"

"The first thing is this lead singer.
I won't play with him,

he was screaming, he seemed
to be about to throw up

and he was throwing bananas
at everybody.

Banana peels, blackberries
to stain the audience clothes.

That's not it.

Let's play, rehearse, practice
on a specific time. Then I am in".

"That's fine. He's out."

Then, Max, Igor, Paulo and I
started the project.

I have no doubt in my mind
that I helped very much

with the consistency
of the band in the very beginning

to say: "Let's stop
and have a plan."

I didn't know the first thing,
about market,

I didn't imagined going to S?o Paulo,
it was the absolute main goal.

"Man, one day we'll
play in S?o Paulo."

A bunch of kids with nothing to do,
but everyone loved rock.

Let's hang out together,
let's get some adventure.

There weren't any shows,
so let's start to organize them.

We did start to organize shows.
It was fun.

It was something fun that somehow
managed to move forward

there was more and more synergy,
it started to take off.

I believe we opened our eyes
for the things around us.

Max was the highlight,
when it came to market affairs.

Their mother gave them money
so they could go to school,

Sometimes they walked to it,
sometimes they didn't even show up,

and used that money to send
terrible recordings

to other countries.

To the United States,
to Europe?

And they sent those
pitiful recordings.

Then I saw a Fanzine and they
were in the first place.

Everything was done through letters,
basically smoke signals.

We have to remember that
we're talking about a time

where Internet and cellphones,
didn't exist,

so everything was dealt
through letters.

When I left Sepultura,

I left without
thinking about money.

Without thinking like "It may work,
and I can get some money from it."

I didn't think like that.

I still remember
walking down the street

and tell Jairo: "Don't go,
you will regret it terribly.

Don't leave the band."
He said: "I want to do something else."

Then Andreas came along,
in the middle of all this talking

because of his band,
that we watched play in Santo Andr?.

I don't remember
if its name was Esfinge,

Then Andreas came
and I taught him the songs,

And I said:
"That's it."

I want to invite again to the stage
our brother,

the original guitarist
of this band.

Jairo Tormento!

Meeting the guys from Sepultura
motivated me a lot,

because they wanted so badly
that things worked out.

They really wanted it,
they only thought about it.

I was looking forward to going
to Belo Horizonte to talk to them,

because that was what I
really wanted.

Then, I moved to Belo Horizonte,
I stayed at Max and Vania's.

Everybody who loved
metal stayed there.

Vania was the metal mother,
everybody called her "mother".

It was very common, because
she was truly supportive,

she let us sleep in the living room,
in the rooms.

All of those stinky metalheads,
sleeping on top of each other,

and I was there and got
astounded by looking at them.

It was way cooler than S?o Paulo.

It was better, crazier

and authentic.
I was really authentic.

I guess the family was
the Kickstarter.

It was essential to allow Sepultura
to be possible.

If Sepultura took off,
it was surely because of Paulo,

his family's help that
let us practice in their house.

Because my mother
didn't like me to listen

to those songs in my house.

Picture it: every weekend
a bunch of boys

not only from the band, but also

the ones that were always
there in the practices.

Because,
it's hard to put on a show today.

Can you imagine how
it was back in 1985?

There weren't any shows.
The shows were the practices.

Paulo lived up a hill,
it was a really shitty place.

And we practiced there, was where I saw
Sepultura playing for the first time.

I got perplexed. How could they play
like that in a place like this?

Because they played using
those tiny Gianninis,

Max hooked his microphone
onto the door,

Igor had a broom stick holding
his cymbals.

It was poor, but they had this
chemistry, and they sounded good.

It was there that I practiced with
them for the first time.

There's a Sepultura before Andreas
and after Andreas.

It was already great,
but Andreas

was that touch the band needed
in order to go to the next level.

Andreas structured the band,
musically speaking.

I guess it was a...

This duo, Andreas and Max,

was powerful,
because Max,

the song goes in his head,
you can see it

so, he knows the voice
he has to make,

he starts planning his voice...

His voice was there
even before the base was there.

When he showed it to Andreas,
he built it and transformed into power.

We quit this...

This death metal thing like
"Bestial" and "Morbid Visions"

and we started to make
more technical stuff

just like "Kreator", "Destruction",
"Slayer".

I made this riff
in that first practice.

And we developed
"From The Past Comes The Storms".

That opened "Schizophrenia",
my first work with the band.

- Yes?
- Paulinho Xisto?

Come in.

Well,
there was a terrible gate here.

Here, there was a doorbell
to which Paulo answered all moody.

There was this little gate
that had a graffiti:

"Sepultura: Black Metal BH",
or something.

There was a counter,
but there was a hill

and Paulo's house was uphill.

And we practiced here.

The house was way back there.

It was there.

It was a shitty house
with two rooms, I guess...

My house was here,
exactly here.

And there was an old house here.

I guess there was an avocado tree here
and the house was back there.

- Down there.
- A little down there.

Damn...

It's not going to rain.

If the clouds come from there,
it rains.

Everything is white.

It won't happen.

Chardonnay, by Sepultura.

That's fancy.

Very fancy.

If I'm not mistaken, the new
Cogumelo store is here, in the mall.

- Really? That close?
- I guess so. I am almost sure.

We stayed on the sidewalk.
It was crowded.

Only metalheads.

After 5pm, after school, after work
it was pumped?

On Saturday.

We stayed there listening
to music,

we didn't buy anything, or do,
but we were there.

The guys from Sepultura, Overdose,
Holocausto, Mutilator,

- Chakal.
- Chakal.

Sarc?fago.

Sepultura had made
a show in S?o Paulo

and another one in Rio de Janeiro.

Before I came in.

They'd also made
some here in Belo Horizonte.

Around 7 shows a year.

My first show was in Caruaru.

I joined the band in April...

May, I'm not sure.
And we played one month later.

I joined the band there.
Exactly.

There. Cogumelo is there.

Yes, but when I was coming
back with Max

we were talking and it was
there where I joined it.

Next to that payphone.

This professionalization of heavy metal
was started in Belo Horizonte.

Things like the production of covers,
drawings, photos?

We owe it to Jo?o Eduardo
and Patty from Cogumelo.

They did a great work to metal.

This period between late 80s and early
90s, they ran things here in Brazil.

They and Valcir's
Woodstock Discos.

You could see them by far,
the long-haired guys around here,

wearing black,
talking about music.

And Cogumelo was here.
Today it's this homeopathic venue.

- I guess Cogumelo comprised both.
- Both?

Or one of them.

- I think it was here.
- Yeah, I think so too.

There was music playing inside,
some counters with vinyl records.

The crowd stayed here.

I remember that we named our album
"Schizophrenia" here.

We had this list
with 5 or 6 names.

So Max got in and told Jorge: "We have
a name!" and the rest is history.

Cogumelo was the one which
started to really invest on it.

Cogumelo release this Sepultura and
Overdose split LP, in only one record.

Recorded "Bestial", "Morbid Visions"
and "Schizophrenia".

It was the three of them.

Going to S?o Paulo was the same
as having an international career.

Rio de Janeiro too.

This was having
an international career.

This was back then.

- Where is it?
- Cogumelo's here. The restaurant is there.

- Excuse me.
- Look who's behind the counter.

How are you doing?

COGUMELO RECORDS' OWNER
-Do you remember me?

I thought he wouldn't remember.

That's what
there is left of Paulo.

- Hello, Jo?o.
- It's really nice to see you here.

Such a great surprise.

- That's right!
- That's right.

Look, "Schizophrenia" cover
over there.

Is this the original one?

It was made by Patty's brother,
wasn't it?

Was it made by Ives?

This is the original one.
From this one?

They took a picture and
transformed it.

The photolith
was made from this.

When they first showed up and
started to hang around here,

since the beginning
we chose them.

We always invested very much
on them.

We made them play
in every capital city.

We did something we'd never done
before with anyone else.

We said: "You're playing in S?o Paulo"
or "You're playing in Rio de Janeiro,"

I demanded much of them,
I took them to bus stations.

I had to talk to their parents,
because they were underage.

So they could go to S?o Paulo.

You must remember that.

- My dad had to allow.
- He sure did.

And he had to take us to the station,
otherwise, we couldn't go.

Now, "Schizophrenia"
was Andreas first work,

and I think the band
improved a little,

quit the death metal thing,

and brought the trash metal.

My opinion is that
one of the greatest?

The greatest change,
maybe it was this...

Both, this technical and
production improvement.

Yes, I even said that the production
of "Schizophrenia" was flawless.

- It sure was.
- We chose the letter font,

the double cover, the picture...

The money we invested...

The label, right?
Ever single detail.

And from "Schizophrenia",
we noticed that it was...

They went abroad to play,
they got a manager, and everything.

Now, if you ask:
Did you expect it?

- No, we didn't.
- Sure, nobody imagined it.

Borivoj, was key
to the beginning of Sepultura's career.

He posted Sepultura on his
Fanzine's cover in New York.

I don't even remember the name.

And there were rumors about it.

But "Schizophrenia"
was the responsible

for putting us on the map.

It was even pirated in Europe.

We didn't get any money,
but we got acknowledgment.

JOURNALIST
MUSIC CRITIC

With the success of "Schizophrenia"
we signed with RoadRunner.

Borivoj came to Brazil in order
to see the band, to get to know it.

He stayed in Belo Horizonte,
he watched some shows

and when he went back
to the US

he said: "Yes, that's it.
Let's sign them."

He wasn't from the company,
but he spoke to Monte Conner

who represented RoadRunner

and said: "These guys are good,
let's give them a chance."

We are going to play a song from
"Beneath the Remains".

Our first album
to be internationally released,

our first video clip

and this song is called
"Inner Self".

We spent two months in Europe.

After that, we spent more two
months in the United States.

There, we met Gloria, who
was a manager for Sacred Reich.

And there, she loved the band.

She said she would talk to
Cees Wessels, who owns RoadRunner

and that she wanted to
manage for us as well.

And things truly took off
very fast.

Because she was really
working for the band.

There still wasn't that
closer relationship

she had with Max.

Which was what really
got in the way

of everything we
were accomplishing.

With Arise, We could go
to the United States.

And we could spend some time,
recording at Morrisound studios,

where we'd always dreamt
of recording

along with Scott Burns.

To have all
the condition to make

the album we dreamt about,
that we really wanted to make.

Max, try to sing differently,
so we can compare the voices.

Maybe deeper. I don't know.

"Arise" was one of the
best tours we've ever gone on.

Sepultura was really put
on the map.

This worldwide boom?

There are people that still
don't get, still don't understand.

I guess due to prejudice,

and due to lack of information.

So, when they boomed abroad,

despite of booming abroad,
there wasn't acknowledgment

of that, say, media that loves pop

or any immediate success
there might be.

And I still see it today.

Being away from Brazil,
we could perceive it

as a unique country
that owned unique stuff

and that we could use it

in a natural manner,
since we are Brazilians.

Then, little by little,
we brought it to our songs.

Even on Territory's opening

there's this Brazilian groove.

"Kaiowas" too, had influences
of the Brazilian country music,

of ten-stringed guitars,

of the beat
from northeast Brazil that goes?

That also had a great deal
of influence on us.

We were focusing more on Brazil
than on other countries.

In "Arise" it was different.
We focused on them

and as for Brazil,
everything sounded like trash to us.

On the recording of "Chaos AD",
we took some percussion

instruments such as
tambourine, Brazilian pandeiro

surdo drum, g?iro, triangle.

Quite typical
of the Brazilian percussion.

I won't say a word.

Such a great lead singer.

Putting on some drama...

I'll take a picture.

Man, you are ugly.
Jesus Christ!

Is that the advertising?

Can you get me four more pairs
of drum sticks, please?

We were evolving not only
musically

but also in the themes.

We wanted to show a more
realistic Brazil.

This "big city" thing
in S?o Paulo.

The corruption in politics,
the police brutality, etc.

Expose this huge metropolis.

Therefore, we inserted
it to the lyrics.

"Let's compose something", "Ok",
but nobody had any ideas, not even a riff.

Then we started to try,

one guy playing here, another there,
this huge mess, and nothing came up.

Then Max and I were trying
together with our guitars.

We said: "Today it's impossible."
And we thought "Let's bail".

When we had almost left,
he went like...

Very explosive, quitting.

Then I said:
"That's nice. Do it again."

He kind of didn't know how to,
then I got my guitar and?

Then we managed
to do it from there.

Igor got the sticks
and we played it like?

Then it happened.
We made an opening

in order to give it
a Brazilian touch.

"Chaos A.D." was released,
and it was the album of the year.

It was released in the United States
by Sony Music,

and it got a golden record.

It was also awarded Golden record
in other countries.

My God, man.
It worked!

We played at the "Castle Donington",
many great festivals around the world

going on spectacular tours.

"Chaos A.D." introduced to metal
a whole new characteristic.

The catch of Sepultura
was this chemistry.

The way Igor played it, such a
spectacular and brutal drummer.

This thing about Paulo
being quieter.

This chemistry was
the responsible

for Sepultura to be
so special.

But specially Max and I.
Not only when it came to make riffs.

Things started with the guitar,
but because we talked a lot.

Let's visit the Xavantes tribe,

let's do something on the Moon,

let's record
something underwater,

unimaginable things...

"But, let's! Let's do it!"

"Imagine if we played there...?"

"If we played we Sabbath..."
These boy's dreams, you know?

It was really strong between us.

And I feel Gloria got in the way.

She diverted his attention from it,
and she created this thing like:

"No, he'll do it himself",
"He'll be responsible for that..."

Then, we went on different buses,
we had different dressing rooms.

Then it started.
This thing like:

"You are the lead singer,
you are in charge of the lyrics,

you give interviews."

"Roots" was such a
harsh record to make.

Ross helped a lot,

on the process of understanding what
was going on in and out of the band.

Between "Chaos A.D."
and "Roots",

we started to use a lower tuning.

And the riff in "Roots"
came around.

As I said,
Max brought the chorus.

He brought it, which was practically
the entire chorus of the song.

"Roots, bloody roots!", etc.

Then, we created this song from
this riff.

I suggested we opened with...

Which is what
we call a single string

instead of a chord,
just to make it more dynamic

this interaction between
verse and chord.

Then, the song started,

and it evolved like that.
This tuning gives these

chords another emphasis.

It gives you more structure.

"Roots" is a fantastic project

because it was made by a team
and it didn't get the right promotion

of how it was conceived
by the band.

Gloria failed to do so, to show
how the project had been conducted.

Everything that happened after
was a consequence of that.

While "Roots" was killing it,

selling like crazy...

Creating this new revolution.

We were shattered as a band,
there wasn't that unity anymore.

Max traveled alone,
on a different bus.

The "best buds" thing had faded.

He took Gloria's family on tour.

Then, in the end of the first year
of "Roots" tour in 1996,

we had this huge disagreement.

The last show on Europe
was at the Brixton Academy,

on December 16th 1996.

And it was the end of the agreement
and we decided to fire Gloria.

Since she wasn't willing to change
the management scheme,

because we were away
from everything.

And we wanted someone else
that could represent us.

Because she didn't represent it,
she represented Max.

And nothing more.

She wanted to have
Max and a backup band.

Gloria already had plans
to remove Max from the band,

so much so that he left the band,
he turned his back and left.

He didn't fight for the name, nor for
anything else belonging to Sepultura.

He signed all the papers,
everything is duly registered

and he went away.

Everyone was burned out.

We had been traveling
for 5 years straight.

We didn't stop.

Tour.

Practice.
Record.

Take the road.
Tour, tour and more tour.

Everybody was burned out for we
were traveling and working so much.

Today, I'd say:
"Are you on a crisis?

Let's have a year off,
let's spend some money,

let's stay with our family,
enjoy ourselves.

We get back in a year.

We had lost everything.

We lost the lead singer,
the manager, the record label.

All the structure Sepultura had,

the fans from abroad,
left with Max.

Everything spins in your head,
that the band can have an end?

At first, we even thought
of changing the band's name.

We started to restructure.

We looked for another manager,
Todd Singerman.

MOTORHEAD'S MANAGER
FORMER SEPULTURA'S MANAGER

We spent almost a year, I guess.
Around nine months.

And we started things over

only the three of us.

Andreas giving us options
of vocal

until we realized we needed
another person

so that we could fill this hole.

There was this piece missing,
and it was quite important,

it had just happened.

Then it took?
little by little we got back on track,

we regained that trust...

And when we played
together again

we realized we would need another
person completely different than Max

but capable enough to
be our lead singer.

Derrick was the one who shed
light over a new path for Sepultura.

We didn't want anyone
like Max.

In the ads for "Against",
there weren't any pictures.

They didn't like Derrick,

they said he wasn't the
lead singer.

He was rejected by the label and
by everyone who was there.

In fact, everyone wanted
it to follow the former standard.

They expected another Max.

We had to put our foot down.

At the end of the day, we know
what is going on.

They don't.
They have another viewpoint?

We're here, we're playing...

We knew the potential,
and where we could go.

And it's not one, or two
or three people that will?

know about it.

What we felt is that there was
something special about him.

So, we had to fight for it.

The more I listen to it,
more I like it,

and the more I relate to each song
and it's really nice.

And this album
brings it very much.

Each song has its
own power.

It was really important that Igor
stayed, there are no doubts about it.

It was a trio,
and show that...

Max had left,
but we are here, together.

We were in that together.

He was a fighter, really,
for keeping that up...

We did "Against", "Nation",
"Roorback", "Revolusongs"

albums that were important
for our history,

That kept us United.

And after 10 years Max
had left in 1996,

in 2006, Igor,
after "Danter XXI" that he recorded

he couldn't take anymore.

I guess he couldn't take his life
with his wife anymore, with the band.

He had to make a change
and leave the band.

I remember that he came to me
one day before the trip,

and said: "I don't want to
and I won't travel."

I got surprised,

but I knew it would happen.

Because it came gradually,
we were ready for the impact.

Then we found ourselves on
this limbo again.

Until we found Jean Dolabella,
who had joined the band

and really gave us this new
breath.

Jean stuck with us, recorded two albums.
It was a great time, really positive.

But he didn't manage to enjoy
that "being on the road" thing.

When I joined it, I was 20.

Then you see guys
like Jean, Igor...

Man, they were gods
as drummers.

Replacing them was
an enormous responsibility.

I told Andreas:
"We have to go and you'll see,

we'll stay in all day.

We won't have much time,
but it'll work out.

It'll work out, and it'll be amazing.
As it has always been."

Only with Ross,
we made "Roots" together.

Such a great album,
one of the most special there is.

Now, we have the opportunity
to work together again.

And both sides are...
Really...

Excited about this opportunity.

This pan sticks,
but it will work out.

It kind of cures the food.

It's really good, this pan.

You add some tomato...
Tomato gives it some...

I'll add it last
so it can get juicier.

I tried to add some ideas.

I think it's important to
bring something different.

To add some of yourself to it.

I guess this is part of
a musicians' job too.

We're heading to the end
of this show...

And we wanted to play something
that is really special

that we composed specially
for you guys, Sepultura fans.

We wouldn't have been here for the last
30 years if it hadn't been for you.

Making this mind-blowing show!

Thank you!

For the ones who have Sepultura
under your skin?

This song was specially made
for you.

"Sepultura Under My Skin".

Sepultura from Brasil!
One, two, three, four!

Everybody said that
I changed the band when I joined it...

But everybody who joined it changed it.
And that's how it has to be.

We've always respected
a new characteristic.

Even when it was that
other formation,

Let's make "Roots",
let's make "Kaiwoas".

Acoustic songs and everything...

We've never been afraid to do so.

And up to now, that's what makes
this band alive and kicking.

This lack of fear of doing stuff.

Thank you very much!

MAX AND IGGOR CAVALERA
REFUSED TO TAKE PART ON THIS FILM