A musical portmantotem pole
Totem is a great listen. It’s a solid mashup of thrash metal and world music elements celebrating Frontman Max Cavalera’s Brazilian heritage and even has a little death metal sprinkled over the top for decoration. As the 12th studio album in their career, Totem is stripped down, delivering what’s expected with fervor and intensity while utilizing some simplistic detail for spice and pizzazz.
“Superstition” opens the album with crescendoing Brazilian percussion by Cavalera’s son and Soulfly drummer Zyon Cavalera. This creates this tribal, jungle feel before introducing a low-register power chug. In a world where vocals and production are often pitched higher and higher to maintain interest, it’s nice that Soulfly doesn’t play that game. Instead, in addition to the infusion of their Brazilian heritage, no two lines on this song are the same, there is always something evolving about their execution. One technique “Superstition” uses is reverb on specific keywords, which could normally come off as cheesy, but Soulfly actually does a great job utilizing it to add intrigue. “Superstition” is a great album commencement that provides insight into exactly what one can expect.
“The Damage Done” breaks up the album by slowing things down and diving into the element of spirituality that the band prides itself on. If our ancestors were to see the world as it is now, the opening lyrics, “In the ruins of the world / I see a reflection / Darkened shades of what / the earth used to be” could be an observation that makes them want to go back to their grave. Like most of the other tracks on the album, “The Damage Done” include a vibrant guitar solo that leaves the listener so much in awe that they need a gut punch to bring them back to reality.
The title track “Totem” is a fun ride with chanty lyrics and controlled guttural squelches that are easy to rock out to. It’s a bit of a lengthy song that has two distinct parts, a wave of pure, finger flying thrash sandwiched between two sections of chant atop an underlying chromatic guitar chug. The ending to the song is excruciating in the best way, making use of tempo manipulation to create a ritardando into oblivion over a two-minute span.
The penultimate track “Xii” is completely different from all the others. In addition to being instrumental only, it’s more of an airy, progressive flight through the dark night sky that lands the listener in front of the final track, “Spirit Animal.” Cavalera featured some more of his tribe on this track, his son Richie Cavalera and granddaughter Leya Cavalera, who contributed vocals and “baby growls.” Coming in at over nine minutes, the “Spirit Animal” saga is the longest on the album and incorporates some actual tribal chants. It closes out with a trippy beat and soft horns leaving the listener to ponder the lyrics, “In life I’m lost / in death you are found.”
It’s always a treat when an artist shares their background to create something vibrant, yet comfortable. The fact that it was a family affair only adds to the occasion. While not totally brimming with innovation, Totem still manages to produce an engaging listen. Just like there’s much to learn from the past, there is much to respect about a band that has been in the game for over 20 years.
Leave a Comment