The last thing necessary here is a potted history lesson about the (ahem) Roots of Soulfly and what led to their formation back in 1998. It’s well documented and has been discussed ad-nauseum. Like many bands of their ilk, it’s the earlier stuff I remember well and as we land in the midst of their 12th studio album, I can’t say I have kept up with them during the entire journey. However, before penning this review, I could not resist at least blowing the dust off my extended CD off their second 2000 release and having a trip back to the ‘Primitive’ and letting my soul fly free once more. Sure, it was lumbered with that dreaded nu-metal tag but what an enjoyable album it is and what an inventive one too. Containing facets of everything from dub reggae, jazz, hip-hop and even a touch of gospel it was certainly a diverse listen and one that easily gets you jumping da fuck up all these years later.
So, into the present and with a huge cast-list through the doors in the meantime we are down to the Cavalera Experience honed trio of Max, son Zyon and Mike Leon who have been the glue holding the band together since 2015. You can dismiss most past genres as on the whole Totem relies on the one and is a veritable thrashmaggedon of an album. From the second they fly into ‘Superstition’ with a chugging guitar line, a bounce from the drums and hoary grunt things hardly let up till we approach the end. It’s an angry album for angry times make no mistake. Zyon’s drumming is really formidable, no cries of nepotism here in the slightest, Max hollers belligerently at all the ills of the world like a prophet of doom and the guitar riffs, well talk about throwing some wild solos. By the time we reach third number ‘Filth Upon Filth’ a title more Discharge than Discharge, they are flying out with wild abandon. Songs are on the whole short and fiery and you can’t help getting caught up in their headbang inducing fury. This gives the Teutonic thrashers a run for their money, for me more so than the Bay Area greats and leaves you as the lyrics suggest toxically “choking on air.”
There are occasional tribal sounding motifs, mainly attributed to the thwack of the drums and there’s plenty of chaos injected too from the ever-flailing guitars on songs like the under 3-minute decimator that is ‘Rot In Pain.’ Sure, it’s not going to thrust you way back into the ‘Schizophrenia’ of early Sepultura but you know what there’s no denying the conviction or intent here. Finally, we get a little breathing space as the pace of ‘The Damage Done’ slows slightly but the hefty crush of it does little at negating its oppressive weight and it completely captivates with spiralling guitar solos and leaden stomp. The title track is full of groove, some neat reverb on vocals and an impressive rattling (almost) drum solo before it ratchets up and gear and literally shreds for all its worth.
After eight songs of thrashing till death we finally get some diversification. Naturally there is instrumental ‘Soulfly XII.’ We are at the stage now that all these numbers from each album could almost be included as an extra disc on own right (but that might be silly). It’s certainly a radical sweep from what we have heard thus far, almost a gloomy, shoegaze, post metal number. I guess it works as prelude to the multi-faceted nine and a half minute closer ‘Spirit Animal’ where the band cram in various ideas, which seem to work as a combined whole. We get the sounds of the spirits themselves amidst windy atmospherics before some Nail-bombing guitar chugs, a sense of punky dystopia, thick bass, brooding malevolence, background chanting and then the main bones of the song itself which could well have you refusing and resisting like it’s the early 90’s once more. There’s even a hint of peace and love to finish thing of and before you can say “praise Jah” we coast to the end a scant 40-minutes after it all started.
Not much more to say here, this should appeal to fans both old and new. Soulfly still got it and can make as brutal an album as one could help for in 2022 and one totally befitting its legacy.
(7.5/10 Pete Woods)
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