When the stunning news that Sepultura is calling a day dropped a few weeks ago, fans around the world were baffled. The band had obviously gone through some very public changes over the years but had always managed to refine and retool for the next run of albums, all of which have been great (I will defend A-Lex to my dying breath). It honestly seemed like Sepultura was one of those bands that would just always be around, regardless of what all else happens in the world of extreme metal. Having them packing it in leaves a big hole in the world of music that will be tough to fill.
Thankfully, just because Sepultura might be hanging it up doesn’t mean there aren’t plenty of bands out there carrying on their legacy. One of the better groups out there playing that classic Sepultura sound is also one with a pretty damn direct connection to the legendary outfit. Brazil’s own The Troops of Doom, featuring guitarist Jairo “Tormentor” Guedz, is, for my money, the best act out there carrying on the classic Sepultura style outside of Max and Igor Cavalera themselves. Guedz, you might recall, was there for the genesis of Sepultura and played on the band’s debut record, 1986’s Morbid Visions (also where the band gets its name), before parting ways with the group.
The band’s 2022 debut, Antichrist Reborn, was a stunning throwback to that early mix of thrash and death coming from Brazil in the mid-’80s. Fans looking for something in the style of Morbid Visions or early Sarcófago got exactly what they wanted on the record and have been clamoring for a second helping ever since. The band did not disappoint when they released follow-up A Mass to the Grotesque at the end of May. Not only did they carry on what they started in the debut, Guedz and the boys pushed the envelope even further and turned in the best record of their young career. I recently caught up with Guedz to chat about the new record and what the future holds for The Troops of Doom.
First off, I wanted to get the origin of the band. How did The Troops of Doom get started?
Jairo: The seed of The Troops of Doom was planted in a project we had in mind back in 2015. However, due to our hectic schedules at the time, it never materialized. We, myself, Alex Kafer [vocals/bass], and Marcelo Vasco [guitars], shared a desire to collaborate musically, but we lacked a solid band name or any concrete plans. Fast forward to 2020, with the onset of the pandemic and the subsequent global lockdown, life seemed to hit the pause button. Amidst all that madness and uncertainty, we found ourselves with a rare opportunity to slow down and delve into our creativity without the usual distractions. It was like a surreal wake-up call. Seizing the moment, we dusted off our instruments and breathed life into The Troops of Doom.
You guys have kept a consistent lineup through the two recordings. What makes this group of guys work so well together and how do you keep a healthy band dynamic?
Jairo: We’re very good friends and the band was born from this friendship at first. We always wanted to build something together from this startpoint, it’s probably the fuel of our creative process. So, I agree, our lineup has been a key factor in our success. What makes us work so well together is our shared passion for music and our mutual respect for each other’s talents. Communication is crucial. We make sure to keep the lines of communication open, addressing any issues or concerns that arise in a respectful and constructive manner. We also make an effort to create a supportive and positive environment where everyone feels valued and heard.
When did you begin the writing process for A Mass to the Grotesque? Did you want to continue what you started on Antichrist Reborn or did you want to take things in any kind of different direction?
Jairo: We basically started the writing process for A Mass to the Grotesque shortly after the release of Antichrist Reborn. While we wanted to build upon the foundation we had laid with our previous album, we also wanted to push the boundaries and explore new territories musically. We aimed to maintain the same intense energy and aggression, but also wanted to evolve somehow and experiment with our sound. We were inspired by a variety of old school influences and wanted to incorporate elements from different subgenres of metal, while staying true to our roots. We wanted to transport the listener back in time, like stepping into a musical time machine, you know? However, it’s essential to emphasize that while we pay homage to our influences, we’re not just mimicking the past. We’ve infused the music with our own unique DNA, evolving it in our own distinct way. While the connection with our Sepultura roots holds significance, especially for me personally, we’re determined not to be confined by it. Our focus remains on preserving the raw, organic, and lo-fi spirit that defines true metal, doing that in our own way.
How was the recording process for the new record? Was it different from recording the debut or pretty similar? I thought the mix you got on it was killer too. Who did it and how stoked were you when you heard the final record?
Jairo: The initial process is always the same for us. Due to the geographical barrier, as we live in different cities that are very distant from each other, all our composition work begins online, done remotely. However, for this new album, we finally had the opportunity to be together in the studio. It was the first time this happened. Previously, each of us would record our parts separately. So, working together in the studio for 10 days made this project much more special and significant for the band.
Things progressed in a much faster and more practical way, which I’m sure was crucial to the final aesthetic of this new album. It has an incredible live energy, capturing the essence of our performances. It’s straightforward, very real, and devoid of the artificiality that plagues much of modern music production. We’re not about the glossy, robotic sound of the mainstream. We’re all about keeping it authentic, gritty, and human! That was exactly what we asked Jim Morris to bring to the surface doing his magical mixing and mastering. Glad to hear you dig it, by the way! Of course, we’re extremely pleased with this result too! It’s exactly what we wanted for this album. I’m sure that by not adhering to the standard dictated by the music industry, which focuses solely on the commercial side, many people who aren’t fans of the old school metal or aren’t familiar with this more artistic and even “imperfect” side, won’t fully grasp the concept and sound of this work. But honestly, we don’t give a fuck [laughs].
The videos you released for “Dawn of Mephisto” and “Chapels of the Unholy” were both incredible and very cinematic. What was it like to make those and who did them? They really both felt like throwbacks to when music videos had more production value and effort put into them.
Jairo: Making the videos for “Dawn of Mephisto” and “Chapels of the Unholy” was an amazing experience. We wanted to create visuals that matched the intensity and atmosphere of the songs, and I think we succeeded. The process was very collaborative, and we worked closely with a talented team of filmmakers and creatives who helped bring our vision to life.
For “Dawn of Mephisto,” we worked with André Moraes and his wife Ana Carol, who really understood the concept we were going for and added his own unique flair to the video. André is a multifaceted artist. He’s a musician, producer, film score composer, and filmmaker. He’s the mastermind behind the production of our album. With a Grammy nomination under his belt for his outstanding contributions to the film industry, André’s talent knows no bounds. Notably, he has also collaborated with Sepultura, as the producer for their album Dante XXI. Well, we’re thrilled with how both videos turned out. We wanted to harken back to a time when music videos were more than just an afterthought, and I think we achieved that. It’s great to see people responding so positively to them!
I wanted to ask about the musical/lyrical inspiration for some of the songs on the new record. What’s the story behind “Chapels of the Unholy?”
Jairo: “Chapels of the Unholy” is about the darker realms of human existence, exploring themes of corruption, deceit, and the allure of forbidden knowledge. The song paints a vivid picture of desolate landscapes and sinister rituals. The imagery of desecrated chapels and ancient rites reflects a fascination with the macabre and the unknown, like an immersive journey into the depths of the human psyche, exploring the darker aspects of religion.
How about the origin of “Denied Divinity?”
Jairo: “Denied Divinity” explores the concept of rejecting traditional notions of divine authority and embracing personal empowerment. The song challenges the idea of being subservient to higher powers and instead advocates for asserting one’s own agency and autonomy.
How did “The Impostor King” come about?
Jairo: “The Impostor King” emerged from a desire to explore themes of deception,
manipulation, and the corrupting influence of power. The song tells the story of a charismatic but deceitful leader who rises to prominence through lies and manipulation, only to eventually meet his downfall.
“Blood Upon the Throne” was another favorite of mine. How did you come up with that one?
Jairo: Originally ”Blood Upon the Throne” draws inspiration from historical events such as political assassinations and dynastic conflicts, viewed through the lens of religion, from the perspective of the Vatican, and the dogmas and fear instilled to control the masses. It’s about the indifference and isolation of the individual in the face of their own demise, with no one caring or coming to witness their death. A dark narrative of tyranny, betrayal, and the consequences of unrestricted authority.
The cover is a really memorable piece of art that fits really well with the record. Who did it and how much direction did you give them? How excited were you to see the final piece?
Jairo: Cool! Thanks! Well, the legendary and renowned artist Dan Seagrave painted the cover art for our latest album, A Mass To The Grotesque, adding another masterpiece to his repertoire of classic death metal covers. His distinctive style was integral in capturing the aesthetic essence of our album. We gave him complete artistic freedom to interpret the album title as he saw fit. He sent us several initial sketches, and each one was truly stunning. It was even challenging to choose the best direction to take [laughs]. He’s truly fantastic! The result exceeded our expectations, fulfilling a longtime dream of having him as our cover artist. With this achievement, we can proudly check it off our wishlist!
Have you gotten a chance to play any of the new material live and, if so, what has the response been like? In general, what has the response to The Troops of Doom meant to you, both internationally and in your home country?
Jairo: Yeah, sure, we played the song “Chapels Of The Unholy” for the first time at Summer Breeze Brazil in April, and the audience response was amazing! The feedback we’ve been getting since the band’s formation has been phenomenal. Honestly, we didn’t expect so much, we got surprised, so everything that has been happening is beyond amazing and gives us some extra strength to keep pouring sweat and blood into The Troops of Doom.
Lastly, what’s the plan for The Troops of Doom for the rest of the year? What do you guys have planned for 2024 and beyond?
Jairo: Well, we’re now 100% focused on promoting the album through interviews and shows. This year we’ve some shows across Brazil and way more to come. In August, we’ll be making our debut on European stages, and we’re very excited about it.
Photo at top: A Mass to the Grostesque album cover.
Check out The Troops of Doom official’s website here. Follow the band on Bandcamp, Spotify, YouTube, Facebook, and Instagram.