CD: In the end, “Blocked Minds” is a pretty good album, but could have been much better: some more creativity in the riff-department and a decent vocal performance would have helped a lot. Best viewed without Internet Explorer, in 1280 x 960 resolution or higher. Most of the riffs take the most basic approach possible, centered around non-stop rhythmic mid-paced palm-mutes with just few occasional power chords, slides or short phrasings making up the actual melodic progression; very often, this extremely common style is also the dullest and most unexciting way to create a thrash riff, especially if you use it and re-use it to death (and this is what’s wrong with many boring U.S. bands), yet Holocausto manages to do a solid work at creating nice and catchy riffs of this kind, even throughout an entire record. However, the riffs start to look better and better compared to the vocals; like an okay chick just got a whole lot prettier standing next to her ugly friend. They quickly dropped the Nazi imagery after their first album and their second album, released a year later, had a song called KKK which was anti-racist… 2.) The lack of professionalism in both production and technical skills is still kinda there, but you can instantly notice a massive improvement and refinement in comparison to the debut: now, at least, you can almost always tell what’s going on and what the fuck the band is playing, thanks to an absolutely better balance of each instrument (though still quite raw and amateurish) and a slightly tighter playing (but still not devoid of a certain level of sloppiness). But then again this is most likely the same ol' drill that happens: band forms, records demos, label gets interested, first output is released. 43%) Songs; Lineup; Reviews; Side A : … It didn't help that some of the line-up was rearranged. However, even in the mid-paced territory, the Brazilians do their best to insert some hints of variety and personality, beginning to experiment with some slightly more technical parts. Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. Their first release was Campo de Extermínio in 1987 which was filled with Nazi imagery. This is definitely the weakest Holocausto release, but not in the strictly “literal” term: it’s just the least good one, but it doesn’t mean “mediocre” or “bad”. It’s absolutely far from being the bunch of worthless shit that many people consider it to be, and, despite being inferior to its well-known predecessor, it represented a step in the right direction for the band: this evolution toward a less extreme sound would have culminated two years later in what I consider to be Holocausto’s best work, the extremely odd and experimental “Negatives”... but that’s another story. That album divided the extreme metal fanbase between two factions: those who hail it as a “nekro-masterpiece” of proto-black metal, and those who are utterly disgusted by the band’s extremely chaotic style (including people who dig Sarcofago without problems, just saying). There are no reviews for Negatives + Blocked Minds yet. But, without doubt, the weirdest track on here is the mysterious “Who Am I”: it surely contains the most creative and most technical riffs of the whole record, and some of them possess even a very eerie and atypical feeling, showing the band’s will to go further and experiment despite their limited resources; the blend of some slightly sinister riffs and a somewhat “disturbing” vocal performance creates a very good atmosphere, and on the refrain the vocals are even layered and reverberated in a pretty amateurish, yet very interesting and “alien” way. Yeah, they threw a big "Up Yours!" This release is so off sounding from their prior days that if I had half a guess, I'd say this is what some of the members (excluding the original guitarist and drummer) wanted to go for all along and the way they sounded before was just a following of those other two mentioned or what the other Minas Gerais bands like Sepultura, Chakal, Mutilator or Sarcofago were doing with their small scene. Death Metal band from Colombia, formed in 1988 3.) Also the final track, “Sleep... Have a Dream”, is surely not intended to be taken seriously, with its nice and shrill riffs and its punky parts empowered by a fucking bombastic bass (yeah, by the way, the bass is definitely very audible on this record, even during the most guitar-driven moments). 1.) Blocked Minds, an Album by Holocausto. There's also some simpler structured solos that come about every now and again, and this is free from ballads or acoustic passages. Sometimes, on tracks such as “Injectable World”, “KKK”, “Tribute to Cicciolina” or (as already stated before) “Eighteen Years Old”, the band falls in the common trap of genericness and adds some banal and frustratingly predictable riffs here and there; luckily, they’re still pretty much in minority if compared to the amount of decent riffage, but they still do some damage to the album’s flow: for example, after a decent starting, “Lies” drags nowhere with total boring ideas which completely fail to keep your attention high. In reality, the Nazi thing was a joke used to sho…. Unfortunately, “Blocked Minds” still possesses some remarkable flaws which ruin a bit the whole enjoyment. And I'll hopefully save you and myself some time: the other albums in the '90s are either just as lackluster like the next one, or dropped metal playing all together like the one after that. 10-18: Live At Dce Católica (Crepúsculo dos Deuses) – Belo Horizonte/MG/Brazil – 1989 This is up there with one of the worst second album follow ups that came right after a band's first output. Don't look here for something against the grain, even for guilty entertainment, or even for shreds of anything else. In reality, the Nazi thing was a joke used to shock. This is definitely the weakest Holocausto release, but not in the strictly “literal” term: it’s just the least good one, but it doesn’t mean “mediocre” or “bad”. DVD: However, I also must admit that, despite all its ingenuity and grossness, “Campo de Exterminio” was without doubt a more memorable and exciting listen, filled with more standout ideas (if you can actually discern them throughout the mess) in comparison to this sophomore effort. This is definitely the weakest Holocausto release, but not in the strictly “literal” term: it’s just the least good one, but it doesn’t mean “mediocre” or “bad”. At this point, they might as well have changed their band name, moved, or purposely forget to tell their friends and relatives that this is still actually them.

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