Sarcofagos Die Hard Review

Sarcofagos

Die…Hard

Greyhaze Records

Sarcofago are legends, and also unsung. Standing in the shadows of another late 1980’s Brazilian metal band, Sarcofago released a genre defining album, INRI, in 1987. Through the next ten years, and a few member swaps, they released four more albums. INRI remains the Satanic monolith that you might not have heard. Admittedly, though, for Die…Hard, when I see “1985” and “demos” in the description, I get a little worried about sound quality and repetition.

Repetition is unavoidable when compiling these types of projects. Greyhaze, via Brazil’s Cogumelo Records, treats us to two early demos, and some random tracks off of single release demos. The treasure here is the two demos, Satanic Lust and Christ’s Death. Yes, some tracks here appear two or three times. So, maybe only a true die hard will appreciate the incremental progression. But, in the days of digital libraries, one can always only keep what they want.

As the album starts, the production is a little tough here. This is the first demo. The drums sound like a hammering construction project executed in the next room. The poor man’s King Diamond wail in the beginning of “Satanas” is jostling. But, then, every other vocal is gruff and evil. The guitar sounds great. The guitar tone on “Nightmare” is treacherous. The drums fit better, plodding and menacing. Even the roughest demos here are still killer; never too muddy or quiet. The production increases in quality as the CD goes forward. “Satanas” third appearance is tight as hell, with even production.

The demo exposes the mastery and influence of Sarcofago. This is the sound black metal purists would kill Christian babies for. I personally like more thickness in the production, a little more chunk in the guitar. But the sound and brutality of this A side cannot be debated.  The listener can make rapid connections to bands like Hellhammer and Mayhem hearing this. The miscellaneous demo tracks are hit or miss. Some tracks can be skipped (“Alcoholic Coma” for one); but when “Black Vomit” kick in, it does so with a feral delivery and blistering tempo.

Christ’s Death demo sounds a little worn from the original tape. But, the playing and recording come with more balls and relentless fury. The tracks are fast. By this time, Sarcofago had a vision and were not meandering in sound. “Desecration of Virgin” is brutal as hell, with a few leads, and a present bass line. The demonic growls and bullet driven drums remind the listener to Sarcofago’s learned status in extreme metal. Again, by the time we get to this, we have heard some tracks multiple times. But this version of “Satanic Lust”, whoo! Finally, a bass!

This is a damn fine record. I do not think you have to be a diehard fan to appreciate this. You can pick and choose which versions you like best. All are sinister. This is savage metal. These dudes do not always come up when talking the history of metal. That’s a shame. Greyhaze gives us a chance to explore the beginnings and foundations of legendary tracks.

Nun Slaughter Review of New Split EPs

Nun-Slaughter Splits

Hells Headbangers

Perversor Split:

NunSlaughter return with incredible design and splatter vinyl and penetrating metal to match. “Impure Thoughts” open this seven inch, as NunSlaughter remind you why they are the kings of Devil Metal. Sleazy and sexual in a wretched manner, NunSlaughter unleash punishing raw death metal with a crust-thrash-blackened twist. The vocal are growled but audible. You can distinguish each smattering of delectable evil. Stellar production and a sinister energy level show this band at their peak with two exclusive tracks.

Perversor come with the same vibe. Lower vocals make it harder to understand than their split mates, but the demonic intent is what matters in delivery and Perversor crushes it. The songs are fast are Hell. This side adheres to more straight forward death metal from these South American purveyors of Satanic smut. And if you missed it, it is fast as Hell. Dirty riffs meander through an atomic cloud of malicious music. Both tracks are at 3:15 and feel elongated due to how fast they are. The drummer truly elevates the effort of these killer tracks.

Witchtrap Split:

Same great effort put into the layout and grey and black splatter wax here. The  vibrant red of the record sleeve is attention grabbing. NunSlaughter again return with ill tracks. They kick the speed up until the break into a swinging death-thrash riff that slays all suckers. As a tribute to their Colombian split mates, Witchtrap, NunSlaughter have titled the respective tracks “La Ofrenda” and “Altar De La Muerta”. 

While Witchtrap raised the ante with “Sex Commander” and “The Devil’s on the Loose”. These tracks are not as low tuned or dark as NunSlaughter. They are still metal as fuck, though. A tougher version of NWOBHM or Kreator, Destruction, Sodom would be appropriate. The chorus of “I’m a Sex Commander” certainly has me naked in my apartment with a towel for a cape. This is empowerment.

Afucking Plus for package and design. Support this and buy some vinyl

RIYL: Possessed, Nekrofilth, Necroholocaust, AntiCimex, Nuclear Assault, Toxic Holocaust

Overcharge Accelerate Review

Overcharge

Accelerate

Unspeakable Axe Records

Review by hutch

Overcharge is exactly what the band promises to be: an Italian culmination of Motorhead, Metallica’s Kill ‘Em All, and Discharge. There will be leather. There will be studs. There will guitars shredding at a drag race car’s pace. Overcharge pairs metal and punk in the manner of Oakland’s Final Conflict, Bathory (with a slightly more palatable vocal style), and Venom.

I am glad to see mohawked, crusty punk resurface among the soccer mom Mohawk ubiquity. Punk was not supposed to be cute or accepted; that is counter-productive. So, if it takes some metal love to add some blood to the punch, so be it. “Lemmy is God” is a salient declaration, and deservedly so. 

His chemical intake alone establishes his body as a vessel transcendent of human form (does that make Nikki Sixx, like, St Peter?). The object, though, all praise due to Lemmy, should be to allow newer metal to be influenced by, not mere copies of, Motorhead. Overcharge blurs the (white) lines as their track “Leave Behind” rides the rail (pun intended) of “Ace of Spades”. It sounds just like it.

The production is pin point accurate when juggling the elements of rock and roll. “As If There Were No Tomorrow” is the second track. This ditty rides on a punk driven bass line. As with the entire record, the drums are tight; impeccable. The riffs may not be re-inventing the steel, but they certainly are dark and fast. Solos are never over-used but capture the ferocity of punk while celebrating metal frills of indulgence.  The ending of “Dirt”, complete with screams being panned, has a chaotic atmosphere as the instruments converge on the end of the track.

The cover’s artwork relays the desired feeling of being released in 1987. Overcharge are proud to be what they are, and weave that thread continually. The bottom line is that these guys adore a style and made an album within those parameters. Can’t blame anyone for doing what they love. Especially, when Overcharge executes this style so damn well.

RIYL: Motorhead, Venom, Metallica, The Bones, Discharge/Broken Bones, Bathory (Blood Fire Death), Conflict, GBH, Exploited, Poison Idea, Exhorder, Annihilator, Sodom, Final Conflict