ALBUM REVIEW: Firescorched – Sadist
Progressive death metal is the all-you-can-eat buffet of metal. You’ve got a choice of all the subgenres and styles you may want – not just from the spectrum of metal, but also jazz, bossa nova, even lounge music – so it takes a lot of tactics and restraint to not end up with an unsightly hodge-podge on your plate that would sit awkwardly in your stomach. This has proven to be no issue for Italian progressive death metal stalwarts SADIST, who have prepared us a beautiful fusion meal with their ninth album Firescorched.
Adventurous opener Accabadora kicks off the album on a high, starting with a tribal chant which brings to life the mystery of the old Sardinian traditional tale on which it is based – of the ‘ladies of good death’ who would relieve rural Italy’s terminally ill of their agony with a merciful end to their life. The keyboards of ever-present founding member Tommy Talamanca bring about much character and atmosphere, while the forward fretless bass fulfils its established key role in this genre of music, interplaying with the six-strings (also by Talamanca) very much as an instrument of equal importance.
The opening trio of songs comprises some of the best writing on the album. Fleshbound is classic progressive death rager in the style of MARTYR, but throws in fresh elements like a brief acoustic interlude and an electro-goth synth-based section. Finger Food is another standout, trading off breakneck tech-thrash riffs with trip-hop sections. The variety of musical styles is a thread that persists throughout how the record is pieced together. SADIST sift through many ideas in a short space of time, but the songs are crafted well enough that they never leave the listener feeling disorientated. The Italians embrace many influences, from sources as varied as jazz, Middle Eastern, and horror music, and blend them seamlessly into a coherent whole, without losing the inherent brutality of death metal.
Horror is a particularly pertinent theme on the record, from the creepy atmosphere created by the keys, to the gruesome cover artwork and song lyrics that explore the world of the unsettling. A great contribution to this is made by the deep growls of vocalist Trevor Nadir, who is able to bark with ferocity whilst also being easy to understand.
This record also marks the first full-length of the new rhythm section in fretless bassist Jeroen Paul Thesseling (OBSCURA, ex-PESTILENCE) and drummer Romain Goulon (ex-NECROPHAGIST, ex-BENIGHTED). Both do their job with distinction – their parts are complex and technical, but complimentary to the song as a whole. In addition to recording all guitars and keyboards, bandleader Talamanca also handled production and mixing duties on this occasion. While the album undoubtedly sounds good, the mixing feels a little flat and could benefit from an extra punch to liven it up. In the louder moments, some instruments are fighting for space and the result is a bit murky.
The focused songwriting on Firescorched is backed by a streamlined approach to album sequencing. With the record’s nine songs totalling just over 37 minutes, SADIST have gone with concentrated quality over quantity. Worthy mentions are the excellent instrumental Loa which would sit well on a post-metal record, and the angular riffs and blast-beats of Trauma (Impaired Mind Functionality). The album is rounded off by the eponymous track Firescorched which echoes some of the tribal groove of the opening track and boasts an excellent Exorcist-style synth part, though the sudden ending robs the record of a truly epic final moment.
With Firescorched, SADIST have created another varied, musically impressive entry into their extensive discography. A horror-tinged whirlwind of a record, it packs a lot of ideas and executes them well, resulting in a fun and engaging listen for any fan of extreme progressive music.
Rating: 7/10
Firescorched is out now via Agonia Records.
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