CF: You mentioned stores. I have never been to Brazil. How many stores down there sold underground stuff from labels like Metal Blade, Combat, Relapse, Roadracer, etc?
CF: Now when did the idea of learning or playing an instrument start? Why the guitar? Did you even consider bass or drums?
AR: Of all things, Sabbath’s guitar tone clearly stood out. The deep, motor truck-like sludge sound was clearly different from Maiden or Priest. I couldn’t understand why doesn’t everybody turned to that evil sound. Sabbath made all other bands sound like the Beatles... And then Hellhammer understood that so well. I liked the drums, but drums are too loud and spacey for home, so I bought a bass because I thought it would be easier. So I went on to pursue an evil distorted sound in the bass. Later on, in 1997, without a decent guitar player who understood all that, I ventured into the world of 6 strings. But I never studied much the guitar, chords, scales and stuff. I wanted to play heavy riffs. And that’s what I’m dedicated to.
CF: So at what point did you want to form or consider joining a bad? Were there many underground metal bands around when you were say 18 or 19?
AR: I wanted to play and sing as early as 13 or 14 years old. There was an older generation of Heavy Metal guys’ bands, few of which recorded anything, because they targeted major labels’, but my younger generation started to form more extreme bands, then called “Power Metal”. There was no Death, no Thrash, no Black. Everything noisier than Heavy was Power.
CF: So did these 2 older bands you spoke of record anything worth mentioning or they didn’t last long?
CF: So how did the start or beginning of Apocalyptic Raids start? Why did you start off as Apocalyptic Raids and then replace the “c” with an “l”?
CF: So did you get to play many live shows during this time?
CF: So how did songs for your debut release come about, which was called “Only Death is Real”? Where did you record it and who put it out? How was the response to it?
AR: Once we started to compose in 1997, as long as we found the “old formula”, it went on frantically… We wrote the songs for Only Death is Real and 60% of the following album before 1999 ended.
In 2000, we hit the studios. We have laid out the basic tracks at a “fashionable metal” studio where everyone seemed to record back then. But as soon as we started to mix it, we couldn’t understand why the sound got more and more muddy. When that guy has finished mixing and was oh-so proud of the shit he did with our sound, we looked at each other and we said, “Ok, we are not releasing this piece of shit, alright…”
CF: Got ya. Now briefly tell me about this split release which also came out in 2001. Who was the other band on that and who released that?
CF: So now we head to 2003 and another full length came out called “The Return of Satanic Rites”. I assume it is safe to say your more happy with this than your debut. Where did you record this at and how did the coming of it come together and who put this out and what was the feedback like for it back in 2003?
AR: Or course the second album pleases me more. It has an uncontrolled edge, it is chaotic at times, but our performance starts to take shape. Songs were almost finished so all we had to do was to go and record them. Unfortunately, the studios where we started Only Death is Real had proved to be more suited for trendy stuff, so we were to start from scratch. It was when Diabolic Force were about to record their demo at Astral studios and they invited me to give some help. It was my first production ever. And it is still a solid piece of Metal, I think. That recording became their debut EP, and it worked as a studio test for me. After we finished their mix, I had no doubt about recording The Return of the Satanic Rites at Astral Music Record. Tracking and mixing were not as smooth as it become later, we had still few resources and little experience, but the flow was way smoother than on the first album, so we started to understand better what we were doing…
CF: Speaking of snail mail and fanzines, do you cherish those times much like I do?
AR: Every time has its pros and cons… The time it took and the difficulty back then did a lot of filtering. Only the most obstinate ones remained. But it was also a limitation. A lot of good bands had their albums postponed for years because they had to rely on letters. Today the problem is the reverse. Everything is so easy that you have tons of shitty bands and a spoiled generation that had everything too easy. I don’t blame them. I just keep filtering what I think should stand the test of time…
CF: What are you thoughts on full-length release # 3 that came out in 2005 called “The Third-Storm-World War III? Who put that out?
CF: Now it took 5 years till a new release came out. Why was that?
AR: After Third Storm was out, we still didn’t do any tours. Just some one-off shows in Southeastern Brazil. Also, even during its recording we started to be affected by varied illnesses from varied family members. So that slowed us down and caused some member replacements throughout the years, to make a long story short.
CF: Now how did you come upon choosing your name do you know if Tom G. Warrior knows of you guys?
CF: Now what followed were 6 split releases. Were these mostly 7″‘s or were they split CD’s or some other type of release? Were these put out by smaller labels and was it mostly new material or older material re-released?
CF: Now also in 2018 came your latest release called, “The Pentagram”. Tell me about this release. How did the coming of the songs come together? Who put it out and what are your thoughts on it these days even if it is pretty new. How did it sell and are you happy with the promotion you got for it?
CF: So what are your thoughts on the current underground music scene these days?
CF: Now some people might say all you are is a Hellhammer/Celtic Frost ripoff. Care to comment on that.