CAVALERA
Schizophrenia Re-Recorded
Nuclear Blast Records
Let me preface this by stating that first and foremost, if you have not ever heard the original, do so now! An album that impacted many lives and took people over the edge in becoming a full-fledged metalheads and (early) SEPULTURA fans. This will all fly over your head if you're not that into the heavier, Death/Thrash side of Metal but at the very least, you should respect its roots (pun intended).
Don't mess with perfection! Or that's to say, "if it ain't broke, don't try to fix it", right? It has become more and more common that classic albums (pre-2000's because everything after has yet to prove its vitality) are being revisited by their respectful bands, whether played live in its entirety or re-recorded. We ourselves are constantly putting these great classics albums on blast to 11. Partially to blame (aside from sub-par song-writing) is that many modern/new bands in the current state of the Metal genre have been highly codependent on modern recording technology whereas back then, all the great music was only limited by the analog tools that were available. Those with an untrained ear or lack of interest (the uncaring casual listener) can't point out these co-dependencies. The argument between the new recording vs the past will be a bloody one. On one side you will have those who side with the current "advantage" modern technology offered versus the old-schooler's nearly "elitist" perspective that the old sound was better. In fact, I'm willing to bet a huge part of why those who defend the modern version (to the death) do so because they themselves as musicians not only have an invested interest but also a large codependency on modern tech.
Clouded judgement or not, nevertheless the one thing we ALL can agree on is that 1987's Schizophrenia was one of those albums that essentially any true Metalhead looks to as a milestone in early Thrash Metal and exemplified not only what we describe as the RAW sound of the era, but the brilliant song-writing between the Cavalera Brothers, Andreas Kisser who made his debut here, and Jairo Guedz. The follow up from a great debut in that of Morbid Visions (also re-recorded along with the EP Bestial Devesataion) and part of this "triology" of early Max and Iggor material.
Unless you happened to have caught my interview with the living legend Max Cavalera a couple of years ago and had attended the recent live CAVALERA shows, this is 1 album you wouldn't have expected to get a makeover. Once you hear the "Psycho" intro, you immediately time-travel back to when you first heard this album. That nostalgia that plagues us all gets you and you quickly remember every riff and beat coming through your speakers. As that guitar riff comes in on "From The Past Comes The Storm" and the drums finally kick in, you easily take notice of the difference in the recording. The Cavalera Brothers keep it close to the chest nearly just like the original. Along with the help from Iggor (Max's son on bass) and Travis Stone (PIG DESTROYER), they conjured up the essence of what made this such a phenomenal record, taking advantage of the modern tools available to them while not letting those same modern tools take advantage of them (BIG difference!).
While subconsciously comparing it to the original, you take notice of the clarity of the guitars and drums all together. You almost breathe a sigh of relief when you realize that the new production here has not negatively altered this masterpiece to fit the new norm. The layered harmony of the guitars and shredding solo on "Screams Behind The Shadows" highlights one of the great aspects of this new vision. I would have enjoyed more depth on Igor's drums but I'm glad we still got the "tubular" sound (as Igor would describe on the CAVALERA CONSPIRACY YouTube channel) from his fills throughout the record like on "To The Wall", especially the roto-toms on "Escape To The Void", a track which is also a great example of the focus to maintain the integrity of the original while giving clarity of the screaming guitar solo intro and in the song.
Max's vocals truly escaped to the void as the reverberated echo (or simply known as "reverb") on his voice was nearly like it was on the original but just a hair over the top. The recording capabilities that were available then could be conceived as limitations and Max himself stated (on their YT as well) they weren't happy with the production then. Thankfully, this new take on the classic still maintains that essence to a degree. The guitars that weren't present enough the first time around are crisp and defined here. The different approach on the guitar riffs, solos and drum-fills are some of the added nuances spread out through the record that you might not catch the first time, giving the album a lot of character. Another added bonus to an already great piece of work is a newly released song titled "Nightmares Of Delirium" that was written for this release. An amazing song that completely suits the album theme with lyrics contributed by Iggor (son). The video is also a gorgeous visual too, also done by Costin Chioreanu who brought us the first visual for "From The Past...". Add to this the re-envisioned album cover artwork by Eliran Kantor, keeping it close to the original piece as well.
If you know me, you know I have a high level of respect and admiration for that decade between the late 80's and 90's of Max-era music. A decade where Metal was evolving, he and along with those he was involved with were shaping things. The tireless argument that Max and Igor "are the 'real' SEPULTURA" is an endless and pointless topic which unfortunately leaves over TWO DECADES worth of effort of a POST-Max era unconsidered and disregarded - FACT! Be that as it may, if you have caught the CAVALERA shows, you can totally see that the veterans of Brazilian Death Metal can still rip it up live and perform these classics excellently and with nearly the same speed and vigor they had when they were teenagers and with the help of the Metal blood of son Iggor on Bass, the youth of his and Travis on guitar bring out the hungry sound from that era, for an album that is 37 years old. Igor is a beast on those drums and that shines through in his performance on this re-recording as does Max's unique and one of a kind voice, both (re)unleashing the attitude from their earlier, younger days.
While the album is easily a 5, the production of the re-recording gets a 4.5
