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Vulcano were among Brazil’s first rock bands of notice. Coming into presence a while before (and having no little impact upon) that country’s most well-known metallic export, Sepultura, Vulcano’s albums had been much too inaccessible to surface area above the rock underground with any regularity; yet, alongside fellow Brazilians Sarcofago, Mutilator, as well as others, their primal, astoundingly violent mixture of dark and thrash metallic has attained an internationally cult story among a number of the genre’s many extreme professionals — notably, Norway’s feared dark metal inner group of the first ’90s. Vulcano developed from a youthful music group known as Astaroth, circa 1981, and is actually the eyesight of bassist, guitarist, and main songwriter Zhema Rodero. As well as guitarist Paulo Magrão, keyboardist Carli Cooper, and several long-forgotten henchmen, Zhema battled to ignite the band’s profession early on, ultimately trading his indigenous city of Osasco for the bigger port town of Santos. Once there, the music artists installed with vocalist Genne and drummer José Piloni to record the four-track Om Pushne Namah one in 1983, but splintered quickly thereafter, opening the entranceway for the appearance of new people Johnny Hansen (electric guitar), Renato Pelado (drums), and Angel (vocals), who managed to get easy for Vulcano to change from Portuguese to British lyrics. This lineup quickly developed 1984’s very much improved, eight-track Devil on My Roof demonstration, so when Vulcano scrapped jointly more than enough dough to record a concert, in August of the next season, the ensuing Vulcano: Live! LP (presenting guitarists Soto Júnior and Zé Flávio, and drummer Laudir Piloni) successfully hook them up to the steel map. Right now, Brazilian rock was needs to select its initial champions, and Vulcano seized the mantle of extremism using their thrashy dark metal (chiefly motivated by Britain’s Venom and Motörhead), which still left chief competition like Dorsal Atlantica and Korzus sounding tame in comparison. If there is anything you can remotely consider “achievement” in the unforgiving globe of Brazilian rock, Vulcano experienced it in 1986: a 12 months which noticed them record the seminal Bloody Vengeance recording for Rock and roll Brigade Records, and become selected to aid visiting metallic dignitaries Venom and Exciter on the tour across Brazil. Ironically, Vulcano’s 1st taste of nationwide press publicity also launched their “dangerously immoral” music, unconventional stage-wear, and anti-religious philosophies to all or any of Brazil’s self-righteous expert numbers — most worrisomely the authorities. The backlash confident Angel and Zhema (right now back again to playing acoustic guitar) that possibly the period had come to combine a few fresh topics (interpersonal issues, psychological and politics repression, errr…cannibalism) in to the usual Satanic stew, plus they also took the chance to employ new bassist Fernando Levine and drummer Arthur Vasconcelos to execute on 1987’s more considered but inevitably less spontaneously combusting Anthropophagy record. This same lineup documented the next year’s thrash and swiftness metal-focused Who Will be the Accurate?, which doubled as commentary for what Zhema idea was an extremely computed and poser-filled Brazilian rock picture. Second guitarist Soto Júnior rejoined Vulcano with time for 1990’s lackluster CORPORATE JUNGLE, but at that time Zhema acquired become sick and tired of everything — especially with not obtaining paid by an countless parade of shifty record businesses — and made a decision to officially split up the music group. Vulcano briefly reconvened with Zhema, Soto, Arthur, and short-term vocalist Luiz Carlos to trim three monitors for Cogumelo Information’ reissue of Live!, in 1988, however the music artists spent all of those other 10 years preoccupied with different tasks, like Zhema’s Creedence Clearwater Revival tribute music group with unique Vulcano guitarist Magrão. Unfortunately, Soto Júnior passed on from an abrupt coronary attack in 2001, at age 39, but simply three years later on Angel, Zhema, and Arthur reunited Vulcano by using fresh guitarists André and Passamani, and documented 2004’s startlingly effective Tales in the Black Book.

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