Korrozia Metalla - Sadism

Production: Loud and full if somewhat one-dimensional.

Review: Merging speed metal and anthemic heavy metal in a punkish format, this Russian band create something that could be described as a hybrid between later Ratos de Porrao and Sodom: arm-pumping anthemic rhythms of chanted vocals ride patterns of cadenced strumming that conclude in alternating concluding phrases, pulsing out a fundamental fabric interrupted by interludes and transitions in the style of a death metal band.

Their riffcraft, like that of Anthrax or recent Sarcofago, derives its power from multiple accentuations applied to a distinctive texture of emphasis, and allows Korrozia Metalla to incorporate a panopoly of influences from Iron Maiden to Slayer. Instrumentalism is impressive for a band of this type, as most tend to drift too far toward their punk roots for the intricate melodic soloing and bluesy lead rhythm playing that colors this work. Its weakness is that, like in punk hardcore, emphasis on "small" patterns of three nearby power chords reduces the music to its rhythmic elements almost exclusively, and thus to experienced metal listeners this may sound not only dated but boring. Vocals provide some of its greatest strength, moving between shout and whisper and death growl with knowledge of what is needed to highlight the emotions of each part of the song, and this album provides conclusive proof that Russian is the language best adapted to the vocal styles of underground metal. It sounds positively evil and deranged.


1. Sadism
2. Thrash Around the Kremlin
3. Come To the Sabbath
4. Contract with Evil
5. Kill To Sunarefa
6. A Night at the Opera
7. Dead Rasputin
8. Devil's Kiss
9. Bloody Mary
10. Jack The Ripper
11. Black Forest Child
12. The Washing of Corpses

Length: 38:05

Korrozia Metalla - Sadism: Speed Metal 1992 Korrozia Metalla

Copyright © 1992 Moroz

As with early punk bands, introductions and humorous moments weave themselves into the more focused whole, as if Murphy's Law decided to make a metal tribute. Unconventional turns in song structure are designed as comments, often ironic, on the direction of the song itself; the greater excesses of metal are mocked gently as well. On each track, the band blends numerous directions into one foot-stamping, arm-pumpimng chorus that gratifies all expectations, and for this reason, the distractions add atmosphere necessary to offset the domineering tone. While this work may not distinctively pursue a direction of its own that is genre-defining, it lays the fundamentals of a national sound for Russia and for those who like old school early 1980s metal, from back before death metal and black metal became exclusive brands, this funny, quirky work will reinforce a full collection with a rainy-day delight.