Roots is the sixth studio album by Brazilian heavy metal band Sepultura. It was released in Europe on and in the U.S. three weeks later on March 12 by Roadrunner Records. It is the band's last studio album to feature founding member and vocalist/rhythm guitarist Max Cavalera.
Following the shift to slower tempos and Latin-tinged rhythms on the album Chaos A.D., Roots delves even further into Brazilian musical textures and features significant contributions from iconic Brazilian musician Carlinhos Brown, who guided and arranged the sections throughout the album that feature ensemble percussion playing. Both in sound and overall aesthetic, Roots is also a conscious nod to Brazil's marginalized indigenous population and cultures. The song "Itsári" features a Xavante chant that re-appears on the song "Born Stubborn" and serves as a loose thematic thread for the whole album, which on the whole showcases the band's increased affinity for experimentation and collaboration.
"Lookaway" features guest appearances by Korn vocalist Jonathan Davis, then-Korn drummer David Silveria, House of Pain/Limp Bizkit turntablist DJ Lethal, and Faith No More/Mr. Bungle vocalist Mike Patton. Riff-wise, Roots also draws influence from the then-surging nu metal movement, specifically Korn (whose first two albums were also produced by Roots producer Ross Robinson) and Deftones. After leaving the band, Max Cavalera would continue to pursue the nu metal and "world" stylings of Roots with his solo project Soulfly.
Since its release, Roots has sold over two million copies worldwide.
Initial inspiration and recording
Roots is the product of a concerted effort on the band's part to embrace its Brazilian heritage. On many levels, the album reflects Sepultura's heightened focus on the music, culture, and politics of their native country. The overarching concept for the album was inspired by the film At Play in the Fields of the Lord (particularly the scene in which Tom Berenger's character parachutes onto a tribe). The movie inspired Max Cavalera to want to record with an indigenous Brazilian tribe. After convincing Roadrunner Records to support the project, Cavalera contacted Angela Pappiani, at the time the communications coordinator for Brazil's Núcleo de Cultura Indígena (Indigenous Culture Center). Nearly one year after Cavalera's initial contact with Roadrunner, Pappiani arranged for a small party including band, herself, Robinson, and then-manager Gloria Cavalera to travel to Mato Grosso, Brazil to visit the Xavante tribe and record with them. At the time, the members of Sepultura were only peripherally aware of the indigenous tribes residing in Brazil's interior.
In a 2016 interview with Nashville Scene, Igor Cavalera remembered:
Every second of that trip was insane in a very inspiring way. But there's a few things that really stand out. Like when they explained to us that the only way they wrote music was if someone in the tribe dreamed of the music. They couldn't just write a lyric or a melody. It has to be transmitted to them in a dream. From a musician's point of view, it was like, "Wow, this is a completely different way of approaching music."University of Iowa anthropology professor Laura Graham explained the role of music in Xavante culture to PopMatters in 2016:
For them, music functions as a medium for entering into other realms—whether they be other dimensions of existence or other cultures. Well before they had any contact with white people, part of their culture has always entailed that men engage the spirit world, especially through music. This happens in their dreams. Not all, but most of their music is inspired—you could say "composed", although they say received—in their dreams through encounters with other worlds. When people come and visit the community from the outside, one of the things the Xavante ask them to do is sing them a song. Music is this medium for entering into relations with others—others meaning spiritual beings or, for example, white society or other cultures. The Xavante want to be known and they want their culture to be known. They want their music to be known because they think it's beautiful and view it as a contribution to humanity. It's like, "We have something beautiful to contribute to humanity—and, by the way, here we are suffering. We want people to know who we are and that we exist." And so when they got this proposal from a musical group that wanted to come jam and share music with them, they loved it.