Article by David Rosales.
Receding light and surrounding darkness encroaching, a stench of death and the beginning of lamentations beyond the veil of mortality; this is the picture presented to us by Nigromante. These images cannot come from elsewhere but the deepest wellspring of human sorrow immortalized through its own seal of power, a searing symbol that brands pain and agony unto souls — that they may be thus imprisoned and chained.
“Usar un sigilo sin saber…. ¡Se maldicen a ellos mismos!”
— A. Valentina
(trans.: “To use a seal without knowing… They curse themselves!”)
Continue reading Nigromante – Profundidades (2016)
“Detail shows the face of Stela D which rises 12 ft beside the altar of sacrifice with a death god effigy. The stele represents the 13th ruler of Copán, King Waxaklajun Ub’aah K’awiil (in English, Lord 18 Rabbit), showing half of his face as it was sculpted, and the other half stripped as it would look in Death.” – Akherra Phasmatanás
Article by David Rosales.
Desolation is a full-on ambient project that blends simple and solid harmonic backgrounds, repetitive phrases of a dark coloring, with recorded lamentations both human and otherwise. The aim seems to be to produce the whole array of impressions encapsulated within that single word: desolation. The music’s structure is progressive and appears to be segmented in an episodic manner, which normally implies a loss of continuity between sections. This unwanted effect is expertly avoided by providing smooth transitions, interleaving ambient soundscapes, nature sounds, vocal improvisations, all of which bring variety within a strongly directly concept that never loses content density or a strong sense of purpose. Furthermore, the album being simply distributed between two long tracks reinforces its unity and the requirement that the audience listens to the whole work as if commencing a mental journey, which once begun must be seen through to its very end.
Continue reading Desolation – Chorus From The Ruins (2008)
Article by David Rosales. This review is David’s Spanish translation of his earlier review of the album.
Cuando decimos que el metal llegó a su cúspide en 1994, después de una breve época dorada, y que lo que siguió no fue sino un declive clarísimo, esto no significa que no hubo absolutamente nada bueno. Por definición, lo que le sigue a una cúspide es un declive – aunque la decadencia sólo sea aparente debido a la perspectiva. Aún más importante es aclarar que cuando hablamos de esta manera, nos estamos refiriendo a un promedio a través del género, y no señalando a nadie específicamente. Después de todo, tenemos un Summoning publicando su clásico de clásicos en 1996 y más música grandiosa a finales del siglo. En Centroamérica, siempre un paso (o más bien diez o treinta pasos) atrás del resto del mundo como resultado de procesos históricos que podemos identificar, lo poco que su reducida población, recursos y cultura permitieron desarrollar al metal local, floreció entre los últimos cinco años del siglo pasado.
Continue reading Abyssum – Thy Call (1998) en Español
Article by Lance Viggiano.
Sacriphyx present a bog standard take on Hellenic black metal through the rollicking pulse native to Australia. The strength of the Greek strategy is in its ability to capture a variety of moods leading to a diverse heavy metal experience. The Western Front is a discontinuous concept album based upon World War I wherein its songs do not function as parts of whole; rather, they are self-contained units acting with autonomy in pursuit of the greater conceptual goal that is realized only through individual skirmishes. These compositional deployments reinforce stylistic choices by maximizing an array of emotive impact while minimizing any diminished efficacy of individual motifs as their power is not derived from their position in a greater narrative arc from song to song. Despite proficient execution, Sacriphyx fail to build upon the Mediterranean tactic in any meaningful sense and thus the movements of its elements will be predictable to those familiar.
Continue reading Sacriphyx – The Western Front (2013)
Article by Corey M.
While 1349 did not quite make good on their promise of delivering a battlefield soundtrack at blistering speeds, Rebaelliun have taken the reigns and driven their blazing chariot into a chaotic realm of vicious blasts and reckless shredding the likes of which many bands have intruded upon only to be cut down due to their inability to survive such an onslaught.
In the past, bands such as Aeon have presented some unworthy offerings at the altar of Deicide, but Rebaelliun diminish those halfhearted efforts even further by adapting their mentor’s tactic of relentlessly aggressive songcraft while actually understanding intuitively their spirit of hatred and hostility. Using the individual musical elements of the band as gears in clockwork, the players rev up the horsepower until the cogs are spraying white-hot sparks.
Continue reading Rebaelliun – The Hell’s Decrees (2016)
Some metal was created to be enjoyed drunk and alone with reality TV blaring in the background.
Continue reading Sadistic Metal Reviews: Pizza Grind
Article by Lance Viggiano.
The Escalation perfects the misunderstood Australian art of Cimmerian metal – a deliberately low-brow affair which has little tangible relationship to the Common Practice Period and therefore easily panned. Vomitor deliberately flaunt rock’s loud and emotive ethos through boorish motifs qualified further by a thin and mid-centric texture executed in characteristically poor-taste. Constructed primarily out of recombination of past forms, The Escalation is a deliberately retro affair which succeeds by forming a singular and immediately identifiable voice. Historical precedence for this identity is found in the work of Spear of Longinus – specifically the first demo contained within Black Sun Society. Vomitor do not present a way forward for metal; instead the entity finely maps a territory which was discovered but left largely unexplored by ancestors who clung to the safety and security of the coastlines looking into an inhospitable thicket which obscures a familiar but nonetheless unique landscape.
Continue reading Vomitor – The Escalation (2012)
Article by Lance Viggiano responding to Steve Cefala’s comment spam on Lance’s Sadistic Metal Review of Nothing Left’s demo.
People really need to understand that reviewing – when you aren’t listing the objective qualities of the music – ultimately comes down to the reviewers taste and experience.
The problem is ultimately that our culture cannot discern the difference between values and facts. More specifically, they treat values as if they were factual statements. So, habitually, they lose their shit over contrary irreducibly individual judgements.
I’m sure this guy can find a hundred other metal critics to praise what I think is lack luster. Still, the most embarrassing bit is that a 40 year old man has to resort to trying to fight at the flag pole after school over differences.
Article by Corey M.
Recently Tom Araya, frontman of seminal and legendary extreme metal band Slayer, offered some words of encouragement to Swiss concert attendees regarding their ownership of personal firearms. He makes a case for owning guns, saying that there are invaders and enemies all over the world and in your own countries and towns, who may turn weapons against you anywhere, at any time. Because of this constant threat, owning and carrying weapons of your own is advisable, says Araya, making a pertinent point. Though he made a point to use no names, Arya mentioned events “in other countries” that resulted from people thinking they were magically immune to random violence (a transparent allusion to the Orlando, Florida shootings last month, in which nearly a hundred patrons of a nightclub were gunned down over the course of a few hours and half of those ended up dead, all because of one man with a gun).
Continue reading Tom Araya’s Second Amendment Pragmatism
Article by David Rosales. Occasionally our staff have differing opinions on unpristine works from upcoming or past their prime bands. The editor’s sobering take on Garroted – In the Court of Nyarlahotep was presented in Sadistic Metal Reviews: Taste the Rainbow!
A modernist acoustic guitar intro, an undefined progressive death metal tirade, cavernous vocals and death-grind guitar tones. An exquisite Old School written all over it, and yet, the young Garroted manage to avoid becoming guides in nostalgia trips. Like Colombian Condor, Garroted takes the tools from the past and forges a future strictly on the loyalty to those traditions.
Continue reading Garroted – In the Court of Nyarlahotep (2016)