As most metalheads are aware, SEPULTURA were the first major player in the international Metal community to come from South America. Coming from humble beginnings in São Paolo, SEPULTURA made their name through their unique and brutal brand of Metal, as well as their unrelenting work ethic. In addition to being one of the few well known South American Metal acts, they are one of the very few bands that can discuss politics within their music without shoving it down their listener's throats. SEPULTURA's newest album, "Dante XXI" was released earlier in 2006 on SPV and marked their last recording with founding member Igor Cavalera.

Okay, let's start out by talking about the tour delays caused by the problems with the visas and all that.

Andreas - "Actually, it was not like a problem of a denial of a visa, but like a... just the bureaucratic ways of doing the visas today, especially for Brazilians. I mean, it takes longer than it used to be - five days. Plus they have a lot of system failures in their computers, like in the straight communication here in the United States; it was a fucking nightmare. So we were just waiting day by day, you know, we went Friday, the day we were supposed to get... actually, we were supposed to get before that, because the first show was on Thursday in Phoenix, but when we went to the embassy there, they say it was no way we could to in that time. So we waited 'til Friday and then no and then Monday, no, then finally yesterday we got and we got to a plane and basically just arrived."

Okay, let's talk a little bit about the new album - how's the fan reaction been so far?

Derrick - "It's been great. I mean, we did a tour with IN FLAMES in Europe; that was our first run with the album, before it actually even came out and it's been pretty great, I gotta say. I mean, from at least when I started the band, it's been a great reaction with this album from an all around public of old and new fans."

What are your favorite tracks off the album so far?

Andreas - "I don't know, we like them all. I mean, it's a pretty short album, though, it's only eleven songs. It's like divided by 'The Divine Comedy', you know, like in three parts, so the first five songs are very related to Hell, you know, so it's a very specific way of doing it without extra... just the SEPULTURA sound, the way we used to do only with guitars, bass, drums and vocals. But then the next five songs, we started to use the cellos and the horns, so it's kind of variety of sounds that we never used before and we even use them live, you know, with samples, sequences and stuff like that and it's working great. I mean, on tour, where Igor recorded the album and then he didn't want to leave on tour, so we did the first part with Roy Mayorga in Europe and then he had a commitment to join STONESOUR, you know. Now we have this new drummer from Brazil, Jean Dolabella. And besides all the changes and stuff, the reaction has been amazingly great. We just did some shows in Mexico, we did Paraguay for the first time and we did a festival in Portugal, we did many dates in Brazil, including a festival with DAVID LEE ROTH and many other bands. It's great, it's like this album is really keeping us strong, besides all the changes, you know. I think we've been receiving not only at the gigs, the live gigs, but also by internet and our homepage and MySpace... you know, really strong and very positive reaction, which is really motivating us to be on the road, especially here - it's almost four years we don't play in the United States, you know; it's kind of crazy, especially after the 9/11, you know - everything changed a lot here, but we're glad to be back, you know. After all this fucking... (laughter) ...you know, madness of visas and exchanging planes and redoing budgets and all that crap, you know... finally we're here and we feel great about it, really good to start this new phase of SEPULTURA, especially with the new drummer, we're going to have a chance to play almost every day 'til Christmas, so I think we need that rhythm, especially for him."

Going back to the cellos; what was it like working with APOCALYPTICA on the album? (Author's note: right collaboration, wrong album - even the pros screw up sometimes)

Andreas - "Well, APOCALYPTICA, we worked with them on 'Nation' in 2001. This time we worked with different musicians, were actually Brazilian cello players from São Paolo Symphonic. We called this guy, Andre Moraes, which was one of the co-producers of the album; we worked with him on some soundtracks for movies in Brazil, so he knows a lot of that world, you know, that taste of using orchestral instruments and stuff like that, so he called these two cellists and we worked together in the studio, like working that arrangements and stuff and the two French horn players. It was great, you know. Actually, they knew the SEPULTURA music and they were all happy to be a part of a SEPULTURA album and stuff. It's much better to work with musicians like that instead of just writing music scores and stuff like that - we work different ideas and, you know, trying stuff right there, so it was really different and better to work like that."

What are the plans for the band after the touring cycle for "Dante XXI" ends?

Andreas - "Hmmm... (pauses)... that's a tough question. (laughter) I don't know. I think we were just thinking, really, of finishing the cycle, you know. We lost all the Summer festivals in Europe because Igor really left the band, you know, really make it official and he didn't really want to come back and continue the tour after Roy and all that crap and stuff. So we took some time, really, to do some auditions. We knew Jean already from the past; we knew he could really do it and when we made the auditions and the test, he did a great job and then we started practicing the material, so our plan is to really keep touring for the next year, you know, as much as we can. We have the plan to go in February to Australia, all that part of the world and stuff, we want to go back to Europe, you know, do the Summer festivals, we have many places in Brazil we didn't play, including São Paolo and the big cities in Brazil, so there's a lot of stuff to do, you know. So that's why I think this American tour will be great for the band, to play in different clubs, in different situations, to get like a rhythm going and really be prepared for the next year, to play as much as we can. And then afterwards, you know, feel what we're going to do, really. It's always going to depend on how this tour is really flowing and every day, so far, has been great and I'm sure the ideas for new songs and lyrics is going to start flowing, you know, naturally and just going to jam, you know. Hopefully, do a new album for 2008 or something like that."

Derrick, do you feel that you've finally been accepted by the fans of SEPULTURA, because I know in the beginning, I saw you on the "Against" tour and there was some jackass in the crowd screaming "fuck you! We want Max!" (laughter) and then he was promptly taken into the mosh pit and beaten senseless. (more laughter) But do you feel that you've finally crossed that hump, where people have accepted you?

Derrick - "I think for me, it didn't really matter to try to change people's opinions. I think it was just a matter of playing and not really being... not questioning who's going to like me or who's gonna... it was just a matter of getting integrated into the band and feeling more comfortable and I think, you know, definitely now, I feel a lot more comfortable in every aspect of being in the band and I think a lot of people see that, you know, and they really have no choice but to accept it. It's like, shit, been almost nine years, you know, he's in the band."

Andreas - "I think finally people are really taking the music instead of just the fucking gossip and all the politics involved. I mean, people are entitled or have the right to talk whatever they want, but right now with 'Dante', I think people really start really paying attention to the music we're doing instead of just comparing shit, you know."

Derrick - "Yeah, it's cool, because you definitely can see that a lot more people are like 'wow,' this album, like people are listening to it and then even listening to older stuff, you know, like getting a lot more reaction from younger kids that may have never known that whole phase with Max and the band itself, like in that phase of only seeing from 'Against' and on. And so, when I think of it in that way, and also a lot of older fans together, like there's been a pretty cool mix. I'd have to say it's great to see a lot of younger kids who are able to keep the name going on and create new fans, you know, which is something that a lot of older bands have a hard time doing is capturing a younger audience. And that tour with IN FLAMES, doing things like that, where people are 'why are you?', you know, 'IN FLAMES are big' or 'that's crazy'. But it was a great tour because it's a different style of music and they're popular in Europe and they're getting even bigger here and they have a different audience than we have, so it was great to have that mix and to see a lot of people really accepting it, you know, immediately, like young kids like 'wow! The live show was fucking awesome' and buying the album. I think it's definitely a lot more, you know, integration."

Okay, what was it like working with Jello Biafra on the "Chaos A.D." and "Nation" albums?

Andreas - "It was a dream, man. DEAD KEENEDYS is one of our favorite bands since the start of the band. I always thought that DEAD KENNEDYS was a Punk band that could play, you know, actually play. (laughter) Especially... everybody - the bass player, the drums, the guitar player and the lyrics of Jello and his unique voice, you know, his unique ideas and way of expression. It's great. He's such an intelligent guy, you know and he's an icon, a legend in music and just to be working together with him... 'Chaos A.D.', ('Biotech Is Godzilla') he just wrote the lyrics and he sent when we were working in Wales, when we were recording and Max did the singing, but on 'Nation', he wrote kind of a speech, you know, and did himself, so I think it was much more present, his voice, you know, on the album and stuff. We did a DEAD KENNEDYS cover tune ('Drug Me') for Alternative Tentacles awhile ago. It's great. It's not only Jello Biafra, but to work with Mike Patton and Jason Newstead and many others that were involved on our albums, it's just amazing - you learn a lot working with these people."

What are your thoughts on how it is now fashionable in certain, more elitist segments of the Metal community to kind of say, "heh, SEPULTURA... they're still around? Ha ha."? (laughter)

Andreas - "Who's not around anymore, man? (laughter) I mean, everybody's around. I'm just glad to say that we never stopped. Many other bands are reuniting themselves, trying to create something that doesn't exist anymore."

No, they're just trying to create more money. (laughter)

Andreas - "Well, yeah, that's the only thing that... which I think is not bad either, you know. Whatever band, they're coming back or not or they're still around, they build something together and stuff, they have a history and shit, but I don't know; I'm just glad we're still here. In the whole SEPULTURA career, we always listened to criticism since day one, or because we're talking about Satan or because we're from Brazil or because whatever reason. It's only made us really grow, you know, and motivate us to keep doing stuff, so they keep talking. (laughter) But it's great - it's twenty-two years of a career, many changes, not only in the lineup, but countries, living different places, labels and managers. I think it's a very rich career and I'm just glad we're still around with new music, not only surviving from the past. I think 'Dante' proves we're really doing something different still, you know, unique. Good or bad, everybody has their own opinion and taste, but we're still moving opinions, which is important."

Alright, any thoughts on your switch from Roadrunner to SPV a couple years back?

Andreas - "I think it was a very necessary change. We signed a contract with Roadrunner in 1988 for seven albums, which is like signing a deal with the devil at the crossroads. (laughter) In the first instance, it was great because the album was released worldwide and the band was starting to get known and we really made that label be what they are today, you know, SEPULTURA really... well, we grew up together, as a label and as a band. But after Max left, they really made a clear choice to really invest in Max,. Especially because he kept all the structure that SEPULTURA took years to build. The first album was ridiculous - the only thing different from 'Roots' was the bass player, the drummer and the guitar player, you know. Of course, the music, but... (laughter) I mean, the people involved in trying to revive that kind of vibe and Roadrunner really putting all their... really investing a lot in that and of course, we still had a contract and we honored the SEPULTURA contract, you know. They never really believed in Derrick; they just ignored Derrick. They just released a 'Greatest Hits', 'Best Of...', whatever they call it for SEPULTURA up to 'Roots' only, you know, and I think that's so disrespectful for a label that were a part of 'Against' and 'Nation'; they were really important albums.

Derrick - "It's just kind of strange... 'Okay, we're not even going to acknowledge any of this part.'"

Andreas - "The history behind and the people there, Monte Connor and all the people there really build SEPULTURA from the start and they couldn't really see a change - they didn't accept the change and they went with the voice and we kept the spirit. But it was a very healthy change for both of us, I think and the good thing is that we kept our doors open, you know, it was not fighting with lawyers and shit like that; you don't want to work with us, we don't want to work with you - I know you have a lot of money, we still have one album to do with them, it was half a million dollars or whatever, but we knew it was not worth it to work for that and have headaches and have people not really working as a team, you know, and with SPV, we're building something really cool, like with the early days with Roadrunner, you know, like people who don't give a fuck about our problems in the past, people who believe in the future of the band and stuff. We started making video clips again, we did the live DVD, we have the tour support we need to be on the road; all the stuff that really matters and makes a difference; it's not only the band and the music - we have to have a team and with our manager Todd Singerman and stuff, it took us awhile to rebuild everything. So it's great - we learned a lot since Max left with the manager and everybody, like the trust from the lack of record label and the press and everything, but we kept ourselves quiet and working. Besides being away from the U.S. for so long, we've been around the world non-stop and finally we're here."

What's your opinions on the South American Metal scene and how it's grown since you guys started out?

Andreas - "It's amazing. I mean, not only because of SEPULTURA, but also because of... I mean, politically speaking, you know, from the military dictatorship and then democracy and voting for president and stuff and Rock In Rio festival and more bands coming in. I mean, SEPULTURA was born on that vibe and of course SEPULTURA really opened a lot of doors for Brazilian bands to go and come outside. Like, it's more Europe and stuff like ANGRA and all that melodic type of music and KRISIUN, which is more of the Death Metal/Thrash/whatever and also more bands to come down to Brazil, you know, to be more interested go there and they love, you know, from the smallest Hardcore band to U2. We have every kind fan, especially in São Paolo, we have a really strong underground scene with new bands all the time. There's so many good stuff that it's very difficult for them to come and play and have a deal and have their CD and stuff, but they're fighting. All of them say that SEPULTURA was really an influence and a motivation for them to try out and really do the music they want and it's great. Brazil's an amazing place. Ask him, a gringo." (laughter)

Derrick - "It's definitely amazing like how the music scene is there and how appreciative people are and how big the shows can be. From every walk of music to Hip-Hop to like, Hardcore to DJ's playing there, you know - there's so many aspects of music that people really get into there and it's just hard to believe that so many bands have not gone there, but I think with SEPULTURA, they definitely... when they know that name, they know Brazil and they're like 'oh, SEPULTURA's from Brazil' and it's like, 'it would be cool to go down there' and I think it's something amazing. I think it's something growing, I hope to see... it would be great to see more bands come down to really take a chance or if they're not getting as much money as they would be somewhere else, just to do it for, if anything, just for themselves, like an experience. Like, they're an artist, experience something different, and I think they'd be probably shocked at how big it is and the reaction. If they keep building a cycle, they keep building up a relationship, they can keep coming back and bring more and more bands. I think definitely SEPULTURA has opened the idea of going to Brazil and hopefully other places in South America, because it's the same in a lot of places that we play and other bands as well; great reactions, packed shows - they're just hungry."

Andreas - "It's getting better, like in Argentina, Chile..."

Derrick - "Even Columbia."

Andreas - "...Paraguay, Columbia - a lot of bands going to Columbia, so it's great. Ecuador is fucking awesome."

Derrick - "Yeah."

Is there anything else you'd like to add?

Andreas - "No man, just glad to be back here and check out the new album, and that's it, man. Hope to see everybody on tour. Jammin'." [FIN]