Mark’s Review:

Soulfly records have always been a mixed bag of Max’s aggressive genius and his over-reliance on misused “tribal” and “spiritual” elements that while fresh on 1996’s Roots, have grown increasingly stale and forced.  I admittedly was (and still am) a big fan of their debut album and felt like it would’ve been the natural progression of Sepultura had Max not left.  Today, the album is an incredibly-dated collection of nu-metal inspired slam anthems, but given the timing and situation, it really captured Max’s anger toward his former band, his family and society in general.  The follow up, 2000’s Primitive, was an exponential decline as Max continued to invite many “special guests” to record vocals to bad songs; the culmination being the incredibly awful Jumpdafuckup featuring Corey Taylor (not to be confused with Fear Factory’s equally shitty Back the Fuck Up off Digimortal).  You always knew you’d get something heavy and raw with Soulfly, it just usually wasn’t going to be very good.

A decade later, Omen is more of the same.  A thrashier sound replaces the “A”-tuned, “Korn-riff” guitars from the past, but Max’s thimble-sized well of song-writing themes (“war”, “pain”, “blood”, “Brazil”) remain.  Tracks such as Bloodbath & Beyond and Great Depression give us the same flashes of promise we heard on 2005’s Dark Ages and 2008’s Conquer, but from there it all goes downhill quickly.  Lethal Injection features Tommy Victor and pretty much IS a recycled Prong song, Rise of the Fallen sounds suspiciously similar to Dream Theater’s The Dark Eternal Night (not a good thing), and the songs Mega-Doom and Vulture Culture voice the same lyrical depth seen in a 9th-grade metalhead’s notebook ramblings.  Besides dealing with a topic 15-20 years past it’s shelf date, the song Jeffrey Dahmer truly scrapes the bottom of the Soulfly catalog barrel.  The song is so cheesy and so ridiculous that I am actually jealous of the infamous killer’s victims that will never have to hear it.

Soulfly keeps teasing that they’ll become a band as dynamic as the old Sepultura, but they never will.  I know it’s unfair to compare the two bands, but Max’s successful career and reputation in the metal community has elevated him to point where he will always be judged against his past accomplishments.  Right or wrong, metal fans formed a connection with him through one of the best thrash bands of all time, and we will always yearn for that same feeling and excitement created by listening to Arise and Beneath the Remains.  Omen is just another failed attempt to make a similar connection, and although it’s not the worst Soulfly album, it makes me look forward to the inevitable “Sepultura Reunion” tour even more.

Mark’s Rating:

King says: “Ugh, I feel like Max just kicked me in the Brazil nuts!”

Justin’s Review:

Remember back in high school when you, me and every other dude with long hair would spend the better part of 4th period meticulously recreating the cover for Arise in ball point pen on those brown-bag textbook covers? Yeah dude… those were the days. Unfortunately for everyone, the era of Max Cavalera worship is one FOR the History books.

Max’s transition from metal monarch to nu-metal jestee can pretty much be pinpointed to 1997 and his departure from Sepultura. While Roots (his swan song with Sepultura) most certainly “borrowed” from what was popular at the time, Soulfly absolutely depended on it. Fast forward 12 years and the release of Omen (which sadly marks Soulfly as Max’s most extensive musical endeavor), and the band are still struggling to stray from their own roots. Plenty of nu-metal riffing, pathetic attempts at aggro-poetry (“Bloodbath & Beyond“… good lord) and guest appearances to be found here. Not to mention the lyrics to “Jeffery Dahmer” make Macabre’s Corporate Death sound like god damn Shakespeare.

However… I’m as surprised as anyone to report that Omen does have its fair share of redeeming qualities too. The punk-stylings of tracks like “Bloodbath and Beyond” and “Great Depression” do well to break the nu. Additionally, guitarist Marc Rizzo does a fine job of sprinkling interesting and memorable leads throughout the album. Unfortunately in the end, it’s simply not enough to win me over. Maybe a little more focus on these elements and Soulfly could actually stand a chance of sounding moderately fresh… which would be a true feat indeed.

For the most part, Soulfly’s music remains as tired and uninspired as its logo implies. The History books just aren’t the same.

Justin’s Rating:

King says: “To quote one Mr. Jeff Lebowski: “This will not stand, you know, this aggression will not stand, man.” ”

Have A Listen:

Soulfly – Bloodbath and Beyond:

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