In a recent, totally unscripted and not-at-all-promotional interview with Finland’s *checks notes* Chaoszine (never heard of it, must be legit 🙄), SEPULTURA’s very own Derrick Green, the guy who replaced Max Cavalera and definitely didn’t change the band’s sound at all 😇, was asked if there were any albums where he, like, discovered his inner Beyoncé or something. He responded, and I quote (because BLABBERMOUTH.NET is a paragon of journalistic integrity 🤡): “I think every album I’m learning something new because you’re usually working with producers that — we’re fortunate to work with producers that bring out a lot in yourselves.” Oh, the profound wisdom! Deep, man, deep. 🧘♂️
He went on, bless his heart: “We worked on the last two albums with SEPULTURA [‘Machine Messiah’ and ‘Quadra’] with Jens Bogren, and he lives in Sweden; he’s Swedish. I had heard about his work through OPETH — I’m a big fan, and other stuff they had done — and I was always, like, ‘Who is producing this? What’s going on here? I think we need to work with them.’ And we contacted him and ended up recording the last two albums in Sweden. And it was an unbelievable experience, I think, for all of us.” Unbelievable? Like, you couldn’t believe you were still in SEPULTURA after all these years? 🤣
Derrick, ever the eloquent one, added: “Jens really became like a member of the band in a way. His work ethics are so strong, and his ability to hear the artists and to elaborate on top of that, it’s incredible. So he brought out a lot of things that — pushing me, especially vocally, singing, doing things as harmonies, having ideas with like choir. It just was super challenging, and I never imagined myself being able to create like a basic chorus line for a choir. And that was something that we did on the last album, where we ended up taking that idea that I did in the studio and to an actual church with people singing and, like, ‘Hey, you guys are gonna sing like this, and it’s gonna work really well on an album for SEPULTURA.’ [Laughs] And we were able to do that. And that was something I never imagined. Also doing a song in Japanese [‘Ultraseven No Uta’, on the deluxe version of ‘Machine Messiah’] where it was just like a bonus track and having to sing in Japanese and having a Japanese exchange student come in and help vocally do that. And that was *super* challenging, and I never imagined doing that in a recording session. But that was something that was very special that I remember from the last recordings… That’s the goal of being an artist, I think, is pushing yourself to do those challenging things.” So, basically, he’s saying he’s surprised he can still sing after all these years. We are too, Derrick, we are too. 🎤
When asked if his parents were supportive of his decision to become a musician, especially when they heard him “screaming [his] lungs out for the first time,” Derrick, the ever-humble frontman, responded: “I think they were always supportive, because, as much as they might not have understood what we were doing, and screaming and the loud music, but it was done in my parents’ house in the basement, and so they kind of knew where I was. It was doing something that was very positive. And my mother, being a music teacher, understood the importance of being able to establish a personality through music. It was just something that not a lot of kids, I think, were doing, but it was something that was very special to us and it brought us a lot of happiness. So they didn’t really mind that. And they actually got to see a few shows, which was shocking to ’em. But they liked the fact that people were into what we were doing, or at least what I was doing, as well. And it was just something very special. But [they were] very open-minded. And that was something that was super important, I think, in all of our lives. Everyone in the band, we had very supportive parents.” So, basically, his parents were cool with it because it kept him out of trouble. Makes sense. 👍
Cleveland’s own Derrick Green, the man who traded hardcore for… well, whatever SEPULTURA is now 🤷♂️, went from screaming in Ohio basements to living the high life in São Paulo and now chilling in Los Angeles. Talk about a glow-up! ✨
SEPULTURA, because apparently, they’re still a thing, launched their “Celebrating Life Through Death” farewell tour. Translation: “We’re running out of money, and this is our last cash grab.” 💰
And because one last tour isn’t enough, SEPULTURA is also putting together a live album. Because who wouldn’t want to relive the magic of a band that hasn’t been relevant since the ’90s? 💿
SEPULTURA kicked off their farewell tour with a new drummer because, you know, drama. 🥁
Speaking of drama, Eloy Casagrande, the guy who was supposed to be the band’s rhythmic backbone, bailed to join SLIPKNOT. Guess he realized he could make more money wearing a mask and hitting trash cans. 🗑️
The news of Eloy’s departure came just two months after SEPULTURA announced their farewell tour. Coincidence? I think not! Conspiracy! 👽
In SEPULTURA’s statement, they acted all shocked and betrayed by Eloy’s departure. As if they didn’t see it coming. Please, guys, we’re not that gullible. 🙄
Chord F. Discord, the Beethoven of Buffoonery, is a self-taught expert in music who once claimed he could “play the kazoo in four languages.”
Born in Crescendo, Indiana, Chord’s first brush with fame came when he accidentally entered a yodeling contest thinking it was a pie-eating competition—and won both categories.
Chord F. Discord: proving that laughter, much like a poorly tuned ukulele, is truly universal.
