Inside the eight years of San Marcos-style metal from Cerebral Desecration
by Ryan A Vasquez
The temperature took a steady plummet by the hour. Wind gusts were drawing more of a huddle near the burning mesquite inside drum containers conveniently located throughout the outside patio area between stages.
Brazilian thrash legends Krisiun just let out. The masses began migrating toward the second stage for the final band of the night there. Their faces exerted and parched. Their bodies battered from countless circle pits.
Like clockwork, it wasn’t long before five musicians took to the stage with shred-style equipment. These guys were big, angry and had a “wanted in numerous counties for felony assault with their deadly-ass bare hands but excused for the night” kind-of-look.
I, standing in the middle of it all, immediately drew to the conclusion that in the next 10 seconds, shit was going to hit the fan again. These war-torn pit soldiers that surrounded me were thinking the exact same thing.
And how can I know I’m right? Well, as the frontman was yelling “what the f***?!!” to the audience, heads kept turning around as if to keep a lookout, for one.
Then you hear: “We are Cerebral Desecration from San Marcos, 7-8-666…” and one note later a unanimous vote was passed to beat each other’s asses once again on that cold, windy night in San Antonio.
[footage from 6.29.18–similar to Nov 9 performance @ Paper Tiger – San Antonio as described above. Tracks include “Upside Down” & “Obstructed”]
Cerebral Desecration made their start in mid 2010 and remain one of the most circulated San Marcos metal acts in the industry today.
RoM recently spoke with guitarist David Machado to take a deeper look into their eight year run, thus far. And according to this native axe man, the local metal scene here was booming in the beginning.
“…bands were screaming to be heard,” guitarist Machado said. “The scene had a surplus of bands that were all bringing in crowds locally and we all knew the same scene, the same crowd, the same metal peeps.”
This wouldn’t always be the case in a still-developing San Marcos. This town had seen it’s fair share of small businesses come and go.
It had yet to become the town we know today with an impressive growing economy, affordable housing and the NCAA welcoming Texas State University Athletics into the Sun Belt Conference.
“San Marcos lost a few of the welcoming venues [not long after forming],” guitarist Machado said. “The scene dissipated and started to move elsewhere, looking to neighboring cities that would allow the material. With San Antonio and Austin nearby we didn’t have to look far but it needed to be here, it wasn’t the same.”
CD would not let these minor setbacks slow their career, so they set a path to continue playing every opportunity that came their way.
“We just take it as if we were opening to the All Mighty, our creator,” Machado said. “If it weren’t for Him, these discussions would never come about.”
[The following flyers are some examples of CD’s national acts support shows not including local productions]
“…who doesn’t dream to open for Sepultura? Who wouldn’t share the stage with DevilDriver, Crowbar, Death or even Six Feet Under? We’ve been honored for all the opportunities and especially the Come And Take It Texas Independence Fest that had Anthrax on it. We’re just as hungry as [other local acts] for these opportunities…they all stand out to each of us the same.”
But just like every musician, national to garage status, they fight the odds to push further in an industry that promises nothing except constant struggle.
What some people need to understand is the hellish hours of preparation bands put in while staying afloat with personal responsibilities that, at times, can put even the most successful band almost to a screeching halt, all before we even see them walk on stage.
“We’ve been dealt some of the hardest setbacks that any band can handle from losses of multiple family members, friends, employment, personal and financial setbacks, etc. Life hasn’t really been fair…but it was an obstacle that we choose to overcome. Only He knows what is scripted for each of us.”
The 2013 debut release “Immortals,” RoM had learned, was the collection of tracks composed with original vocalist Brad Winkfield and original bassist Mason Weaver, plus revised songs and tunes made with new members.
All lyrics in this album, track for track, were written by my guest of honor, Mr. Machado.
“..’Immortals’ was written after seeing Testament / Anthrax at Emo’s-Austin. [We were] in the pit going the opposite rotation of the circle knocking homies down left and right, causing a bit of a scene. The bouncer came up to us and said, ‘Dude, we thought you fighting.'”
“I left there beaten, bro,” Machado said. “But I got home and after talking with my wife and family I picked up my ‘beetch’ of a guitar and wrote the lyrics and music to that title track.”
Unlike the debut recording, CD decided they needed a new producer and studio to corroborate with the new members and fresh ideas which was now transitioning.
This marked the end of the road for their time with Bobby Mercier at Looney Bin Recording Studios-Von Ormy, TX, and opened the door to the infamous Clifton Miles at Dead Room Recording Studios-San Antonio.
“Clifton really pushed us and critiqued us in a way that helped us as musicians, to see a different side of things…what we did in that studio with him shows the attention to detail we all took to step forward with this new direction for CD. Bobby [Mercier–Looney Bin Recording Studios] has always done CD justice and we can’t thank him enough for all the history together…”
This band has proven themselves hungry for the rush of playing among giants. With the help of Mr. Miles at Dead Room, however long they may collaborate, and that fierce desire for relentless creating, audiences will continue to see this band with the best of them and rising.
And for those who are new to hearing about this band, understand that their lyrics destroy the perception of reality, believe the only truth is flesh and blood and belief systems have become outdated and marginalized.
As far as the live experience, Mr. Machado said this: