Which, of course, lead to Sepultura writing a blisteringly aggressive album-even though there are three instrumentals-that still stands the test of time.
It’s also super-important to remember that guitarist Andreas Kisser brought in a whole new perspective, his traditional heavy metal mind meeting up perfectly with Max Cavalera’s more primitive, Hellhammer-meets-Discharge approach. Again, it’s important to remember this was 1987 in Brazil, which was, back then, was as foreign as the Atacama Desert, and that bands like Sepultura didn’t have the resources of their “First World” counterparts. Based on the Seps’ second album sound, it’s fairly evident the folks guiding the sessions and twiddling the knobs (engineer Tarso Senra had quite a job on his hands) were fairly inexperienced and/or had very little time-due to scarcity of funds-to properly capture then-white hot Sepultura at their most intense and aggressive (that’d be two years later on Beneath the Remains). Estudios in Belo Horizonte, Brazil, it’s immediately curious that the producer credit goes to not an individual, like Scott Burns, but to a record label, Cogumelo Produções. Actually, that charm, as Svensson discusses, is pure anger mixed with unbridled innovation. Nevertheless, while The Red in the Sky is Ours borders in skinny-sound-wise-there’s a bit of charm in its non-heaviness. ‘Is this the way it is supposed to sound?’” Clearly, At the Gates were young-around 18-and inexperienced, the lack of a label deal and significant funds also put stress on the recording sessions. I still remember the surprise on Hans’ face when Tomas started sound checking the vocals for the album. After a few days we realized that he didn’t have the first clue about metal. We didn’t really have the money yet (not even a signed record deal, actually), and I remember that the studio was really expensive. But, after all, it was convenient for us since it was located in Gothenburg. To quote then-guitarist Alf Svensson in our Hall of Fame article, “I remember discussing the choice of studio a lot, but I can’t remember why we ended up choosing ART Studios. At the Gates – The Red in the Sky is OursĪt the Gates have spoken openly about their dissatisfaction of The Red in the Sky is Ours production. While At the Gates, Dark Tranquillity, and In Flames were garnering international recognition for the ‘Gothenburg Sound’, it was Eucharist who were taking it a decidedly classical direction, even if the members were barely out of high school, on A Velvet Creation.Ĥ. Nevertheless, the brilliance of the songwriting-such as “March of Insurrection”, “A Velvet Creation”, and “Once My Eye Moved Mountains”-is undeniable. In fact, guitarist/vocalist Markus Johnsson has recently said the production “sucks”. Recorded MusikMaffian in Varberg, Sweden by Fredrik Larnemo, who went on to produce Ablaze My Sorrow and Decameron, A Velvet Creation wasn’t the end product the band expected. Young Eucharist were also on very young Wrong Again Records, a Swedish indie without the budgets of Century Media or Nuclear Blast. Most death metal, at the time, even by Swedish standards, had heft, a weight attributed to studios like Sunlight and Morrisound.
Though available only through mail-order (or really good indie stores) the year of its release, A Velvet Creation had a remarkably thin production. Swedish upstarts Eucharist presented a strange first impression with 1993 jaw-dropper A Velvet Creation. Settling on the list before you wasn’t easy, but it’s fairly obvious to veterans, who were there when all these records went down, came out, and were derided–in ‘zines and magazines–for their terrible productions. He countered with Morbid Angel’s Blessed Are the Sick and At the Gates’ With Fear I Kiss the Burning Darkness. I proposed Malevolent Creation’s Retribution and Carcass’ Swansong.
So, Albert and I started discussing two more albums to round out the Top 5. Most of the time it’s due to two things: money, which equals time and experience, which equals quality. There are reasons why some albums sound better than others. Certainly, there are reasons why, say, Breeding the Spawn sounded like an army of pitbulls arguing with a battalion of Sherman tanks muffled by the thickest pillow on planet. Immediately, I recognized a gold post idea if there ever was one. The body read: “The greatest death metal albums marred by terrible production.” He then presents three albums, Reek of Putrefaction, The Red in the Sky is Ours, and Breeding the Spawn. The subject header from Albert read: “top 5 idea”.
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