Sadism “Obscurans” for #MetalChronicles
Band: Sadism
Album: Obscurans
Label: Hammerheart Records
Release date: November 24, 2023
Country: Chile
Format reviewed: High Quality Digital Recording
Sadism – “Obscurans”: Veils of Deceit
“Surrender to Sadism’s latest album, “Obscurans”, and feel the legendary power of the best Chilean Death Metal! A brutal exploration of historical and spiritual horrors. With fierce riffs, thunderous rhythms and thought-provoking lyrics, this 10-track odyssey challenges perceptions of faith and power”
by Elyna Steel
Welcome to another chapter of “Metal Chronicles”, the section dedicated to up-to-a-year releases.
Today it is my pleasure and honor to introduce you to Sadism, an essential Death Metal band from Chile – therefore, my fellows!
For those who have already read some of my reviews, you will realize that this is my first time reviewing an album outside the melodic style – not that I haven’t ever heard Death Metal, just in case, don’t panic!
Sadism was born in 1988 in Santiago de Chile, as part of the Chilean Death Metal army alongside Pentagram, Malevolent Creation, Atomic Aggressor and other legendary bands of the genre.
The former line-up was drummer Juan Pablo Donoso and Ricardo Roberts (on vocals). Currently the quartet is completed by Francisco Cornejo on bass and Gabriel Hidalgo on guitars.
After 35 years of activity and featuring a 9-album discography, Sadism released on November 24, 2023 their 10th album under the title of “Obscurans”, made up of 10 tracks. It lasts for 39 minutes and 59 seconds and is what summons us today. It is the first with the prestigious Hammerheart label, from the Netherlands, now in charge of its international catalog.
With this context in mind, let’s explore it further.
Track 1 is “Exsanguination” running for 03:42’, placing us in the depths of the Inquisition’s era and its torturing methods. Bloodthirsty and implacable, God’s supposedly chosen ones inflict grim torture on those who do not profess the dominant religion – those who dare to live life outside the parameters of what those murderers considered “just”, “innocent”. Whoever dares to question their power, that doesn’t fit in their precepts or denies their supposed supremacy by professing another religion is tortured to death. The chosen method is exsanguination: all the heretics’ blood is extracted, which kills the victims cruelly and slowly.
The blood here presents me with two visions: on the one hand, that the blood is cursed (by the Inquisitors, psychopaths in cassocks) and must be extracted as poison is extracted from a wound. On the other hand, blood is the life of a being and when it is all extracted, death comes; Heretics deserve death and hell, so bleeding is the appropriate punishment for their crimes – and a bestial way to “free their soul” to some.
There is no mercy for heretics: anyone who thinks differently has their blood cursed and it must all be drained.
This brutal portrayal is a chilling reminder of the atrocities committed in the name of religion and of the bloodthirsty psychopathy that those who hold religious power can develop.
The composition is at a fast tempo with slightly progressive touches, kicking off unleashing the infernal chaos that deserves an epic old-school mosh, a whirlwind of souls to the devilish rhythm of Gabriel Hidalgo’s strings and the demolishing rhythmic base in charge of Juan Pablo Donoso and Francisco Cornejo. A luxurious intro, exquisitely demoniac. Ricardo Roberts on vocals enters the stage.
He has the type of growl singing I like the most – low pitch, chest-thumping resonance, deep as hell, full of power that envelops the senses and gets you frenetic.
The chorus varies in rhythm, including a progressive touch.This, added to vocals create an electrifying sonic experience!
A vibrant bridge comes after the second chorus. Here Gabriel shines on the ropes. How he dominates them! Crushing riffs and the brutal solo in the Slayer vibe, without losing the personal touch that characterizes Gabriel – perfection and energy in the execution. After this true climax comes the last chorus that preserves the dynamics, the outro and its dizzying melodic-rhythmic whirlwind and abrupt closure.
Brutal first track! Melodically, the ensemble captures you. The meter is diverse, dynamic and invigorating, so much so that you feel like the minutes passed very quickly and you absolutely have to listen to it again because it’s too cool! Yeah. That’s what happened to me, I listened to this song for at least an hour non-stop, it’s addictive!
Continuing with this journey to the ends of hell, “On your knees” is track 2, enduring 04:15’. “Obscurans’ , the darkest moment in human history. Inquisition is ruling here, which has the world down on their knees. Arts, scientific knowledge and any human activity at that time was destroyed, prohibited, bowed down by Catholic Church ‘s oppression. And in the midst of the crusade for the supposed purification of sinners, a voice mocks those “sheep” who renounce their capacity for critical thinking, their willingness to kneel before the new God: the Inquisition. Paradoxically, that heretical voice is the one that establishes the norm of what is actually considered injustice, oppression, crimes and aberrations (committed with avidity by religion itself) taking advantage of the ignorance and fear of men, who obey its precept without questioning it.
This song is a slap in the face to those who follow any religion without questioning whether their leaders are really who they say they are – whether they are The Chosen Ones or the personification of the Dark Ones – supposedly protecting your freedom of thought, but keeping you in dependency, fear and fanaticism and thus prevent you from understanding that religion is a prison for your mind. After all, it is not necessary to be religious to be a good/free human being. Furthermore, the worst crimes in history have been committed in the name of religion – whatever it may be, of light or darkness.
The musicality of the piece is dynamic, in a time signature between 3/4 and 4/4, and the tempo is medium although it speeds up at times. It begins with brutal riffs and medium tempo, accelerating before the first verses, powerful, imposing! Demonic syncopations and the rhythmic base accelerating as the song progresses. The rolls, the riffs drive – not invite – drive, push you to nod and form the mosh round in the center of wherever you are standing, even when the rhythm is medium, the brutally warm energy enters your ears and leaves you ecstatic. This musical picture is maintained throughout, ending abruptly and setting the stage for the next act.
In essence, “On your knees” is a breath of warm energy that renews you to continue the journey “Diabolution” is the third track, running for 03:31’. The lyric brings to mind John Milton, the personification of Lucifer in the movie “The Devil’s Advocate”: manipulator, king of lies and deception. In particular, the dark self of the protagonist of “Diabolution”plays with our vanity – Milton already told us in the movie: the devil’s favorite sin is vanity, through which he can manipulate the world as he pleases.
The church and religion are his accomplices through coercion and the manipulation of people’s fear. Every authority submits to this monstrosity. Whether out of genuine fear or to remain in power through the popular vote, they literally sell their souls to evil, turning a blind eye to the crimes that are committed, turning a deaf ear, failing to fulfill the task of enforcing the laws, protecting and representing the interests of those who elected them as representatives of society. And so evil multiplies around the world – this is how it has been throughout history.
Good in danger of being defeated by the forces of evil. Facing this scenario: What do we do? Selling our souls too? Or remaining stoically denouncing corruption despite fear and threats?
The final reflection is that evil triumphs not because its forces are more numerous, but because the good-hearted majority cowers, becoming indifferent towards suffering and injustice.
A final personal reflection is that the ultimate battle is not good against evil, but corruption against the complaints and denunciations of those who suffer from it. That is why it is important that the sheep does not question, that it does not complain and that it only obeys, being a “model citizen” – that is, no critical thinking.
This track is a sonorous spiral that pulls you towards the center of the whirlwind and then launches you into the air.The melody, the riffs, the rhythmic base goes at a dynamic, fast tempo that smashes your head- Slayer here, present!
I must highlight the great Gabriel Hidalgo for his incredible performance on this album – his first complete recording with Sadism. Top-tier riffs! Powerful, sizzling, brutal!
Reaching the verses and chorus, the only word that comes to my mind is “fire!” What a vocal rendition! Ricardo is like a herald shouting the warcry – Diabolution!, the cry trapped in the throats of millions of souls rebelling against the rotten status quo, corrupted to the core. The catchy bridge coming next varies in measure and tempo, with different rhythmic and melodic figures and again the voice unleashing chaos.
When you reach the end of the track there is a variation in the structure; the last chorus appears first and then the last verse leads to the abrupt ending. Good job guys!
The following track is “Lower Astral Entities’ . Clocking in at 03;37’, it immerses us in an intense, dark spiritual environment, exploring the realm of low astral entities – the “Dementors”, which prowl the different lower planes. Its ultimate mission is to parasitize the vital energy of man, moving through the fog, following weak rays of light – with this I imagine the light that is seen from within the eyes, ears, nose and mouth, each of the sense organs as portals that can be opened and harbor these parasites of human energy.
Death is described as a way of surviving in the lower astral.
The struggle between light and darkness, life and death is powerfully portrayed in these lyrics. Demons that disguise themselves as Angels, the sky turned upside down gives way to an inverted reality, where light is darkness, where good is bad and vice versa.
Thus, man falls prey to deception and is dominated by these interdimensional beings who will parasitize him until death – or until he awakens from the spell and dares to scare them away from the realm of his soul.
This lyric is loaded with darkness and symbolism, and makes us think about the dangers that stalk us daily and that we cannot see so that we are attentive to any attempt by these dementors to steal our energy, will and lead us to madness and death. as a last resort.
A perfect 4/4 of an ultra-fast machine gun speed reminiscent of the best of Death and Obituary. One of those rides that makes you headbang from second 1. Master Gabriel Hidalgo’s insane riffs along with Francisco and Juan Pablo’s rhythmic madness give way to Ricardo, who opens Pandoras’ box – the portal for the lower astral entities is open. Following this amazing blast, a bridge takes us to a brief change in the rhythmic/melodic pattern, slowering, for then go back to the prior structure, with demolishing riffs giving way to the last chorus and abrupt ending,not without first giving us the rhythmic and melodic power of old-school death metal by no overusing guitar distortion but intelligently unifying the sound ensemble. Crushing track!
The following ride is “Because We Are Rotten to the Core” enduring 04:03’
The lyrics of this song mention three of the band’s albums: in the first verse, “The Ocularis domination” (2014), in the second verse, “Ethereal Dead cult” (2018) and “Summon” (2002) in the bridge after the first chorus and before the solo.
This is not by chance, as these three albums address topics such as Satanism, secret societies, extreme human aggression and violence – so much that the demons in hell look like infants in comparison. They discuss prostitution not only in a sexual sense but also in terms of value and morals. Decadence, evil and corruption at all levels is the underlying message of this track. No one is saved from that twisted nature; that beast that lives inside each of us can awaken at any moment. It only takes a little power, a little vanity and chaos breaks loose: we are rotten to the core. Provocative lyrics that urge us to look at ourselves sincerely and accept the fact that perfection is an illusion. As human beings, we have the potential to be angels and do good deeds, but also to be the worst demons if we are not careful.
The composition explodes with a dynamic rhythm and rhythm, evident when the first verse begins after an imposing introduction that creates a march-like sensation. With pulse-pounding progressions, powerful drum rolls and insane riffs, the atmosphere becomes apocalyptic as it meets the vocals. The chorus and its textures and rhythmic/melodic nuances are an homage and reminder of old school Death Metal, keeping the essence of Sadism.
The second verse and its preceding intermezzo set the stage for maestro Gabriel Hidalgo’s powerful solo, connected perfectly with the following chorus that maintains its structure. The final verse is a spiral of melodic and rhythmic progressions, which concludes with a series of consecutive choruses where furious guitars and a perfect base take center stage, culminating in a fade-out.
This track stands out as one of the more relaxed offerings on the album, perfect for those who also enjoy Death Metal at a slower pace.
Continuing the journey, track 6 is “Freewill Archangels”, enduring 04:05’.
The narrative of this track explores the timeless confrontation between good and evil, personified through angels, demons and Nephilim, as an announcement of destruction and rebirth. The clouds and pain warn us that the final judgment is approaching, to which our broken hearts react with anger as a form of catharsis, to relieve the anxiety of what is to come.
There is a desperate desire for knowledge, for getting an explanation for so much pain in the world, which is an ultimate gift offered by Morning Star and Death while “Lords of Hell”, enemies of God, spread spiritual poison and built steps and towers to perhaps reach God’s place and defeat him. And we humans are in the middle of this war, suffering eternally from the cosmic war.
In terms of musicality, “Brutal Spiral” is the phrase that comes to mind when trying to describe this track. Old school brutality unleashed in the drums, guitars, bass and voice, starting from second 1 and destroying everything, no pause and where your neck takes on a life of its own with a windmill headbanging that shakes your neurons.
The verses and the music kick off together, flowing. It feels like you’re slowly being pulled into the center of a whirlpool, which becomes more and more aggressive as the melody and ridiculously powerful rhythmic base progress… And those riffs and solo – again, Hidalgo! In fact, the composition has several moments with brief progressive cuts – this album in general has a lot of progressiveness. And I suspect that this has to do with maestro Hidalgo, which is great for a lover of this type of meter like me. Excellent!
The choruses mark subtle changes in pulse and beat. The solo that follows, impeccable – the eye of the hurricane devastating everything in its path, calling to start a brutal mosh in an explosion of kinetic energy, and then take us to the end of this chapter accompanied by furious riffs and a devilish rhythmic base, in abrupt closure.
The following track is “Ars Goetia”, placed 7th and clocking in at 04:04’.
Composed in a dynamic medium tempo structure, with time signatures that vary between 3/4 and 4/4, this song is full of sonic nuances, textures that are pleasantly brutal to listen to.
It begins with a solo of alternate picking, almost without distortion and accompanied by a subtle cymbal roll, creating a mysterious yet relaxing vibe. After this intro, riffs and pulses set the pace until entering the brutal and fast intermezzo that invites you to nod your head Cannibal Corpse style – your head turned into a tornado!
The verses and chorus follow a similar meter at a slower tempo, although it takes on the “mosh spiral” rhythm between some verses. The luminous solo comes after the second chorus, marking a variation in the guitar sound – it resembles the adorable cymbal of the intro, yet is more imposing. The last chorus comes immediately after, closing this chapter with an outro and abrupt closure for an exciting journey.
The narrative revolves around Ars Goetia, a compilation book where 72 demons appear with their powers, weaknesses and also… it explains how to invoke them. This fact makes Ars Goetia a very dangerous but equally tempting, magnetic book.
However, there is a warning; summoning this legion has a price – or several.
Suicidal tendencies, possessions, mental disorders and all kinds of calamities can attack those unwary people who, motivated by curiosity and morbidity, seek to invoke these beings, perhaps for asking favor, even for trying to control them and tak using their powers. What people don’t know is that there is no possibility of success: once you call them, you are lost. The moral is simple: if you play with hellfire, you’re going to burn – probably in Hell.
“The Void Devourer” is track 8, enduring 03:55’. The story showcases the inner chaos of someone whose sins don’t let him live in peace. Plunged into terror, doubt and remorse as he faces his final hour, he sees how the Void Devourer makes a nest within him and consumes his soul. It tears him, wounds him, bleeds him, but his wounds are not seen: they are the wounds of the bad man, of the inveterate sinner’s soul. Lost in his thoughts, he sees how the vultures stalk him the demons, eager for their last breath and feast. And he resists even knowing that death is inescapable and that the Void Devourer is implacable.
Who is this character? It could be any of us, although I think of those who live a double life full of lies, hypocrisy, double standards and who are the first to throw the first stone, the first to point the finger at the faults of others, forgetting that there are three fingers pointing at them. May this song be a wake-up call for them and perhaps they can avoid the visit of the Void Devourer.
The composition is old school Death Metal, akin to the sounds of Pentagram and Atomic Aggressor: fast tempo with some nuances, 4/4 time signature, thunderous riffs and a rhythmic base that smashes your head mercilessly.
The first verses start devastating everything. The beastly melody and voice sow chaos while the drums beat the pulses as if they were explosions. The bridges among verses and choruses are insanely fast- a whirlpool vibe that invites moshing!
The chorus calms things down a bit, at a slower tempo. The vocal lines together with the marked drum beat create a majestic atmosphere full of power. This scheme is maintained throughout the composition, followed by a guitar solo that marks the closing of the track, ending abruptly.
“The Void Devourer” is a perfect sample of old school Death Metal. It combines chaos and calm in a masterful way, which, added to the thunderous riffs and its exquisite drums, makes it an essential listen for fans of the genre.
The journey continues with “Parousia”, 9th track lasting for 03:55’. The narrative here marks an interesting turn, for Parousia is the Greek word for the second coming of Christ according to Christian tradition. Nobody knows the day nor the hour, but no one would escape from that day. It is believed that the angels will blow the trumpets and that day Christ will return for his people – those saved by the blood of the Lamb of God, those who will go with him to escape “The Great Tribulation” which would be the worst time in the history of humanity, “The millennium” where it is said there will be many wars and much suffering – as it has been every millennium since the beginning of time…
“Parousia” stands apart from the overall narrative of the album, which adds another layer of dynamism to Obscurans.
The meter of the song is a catchy 4/4 Andante tempo, with the machine gun rhythmic base setting the pace, including syncopated blast beats and various overtones.
The intro is dynamic, fast-paced with seductive riffing that just blows you away. The verses are catchy, maintaining the Andante meter. It’s an irresistible invitation to headbanging!
The choir diversifies the rhythm while the drums shine with very powerful, crazy rolls, enriched by the bass-guitar harmony that gives it a familiar touch – it’s like a trip to the 80s and 90s, to the beginnings of Death Metal in Chile , epic! The spectacular solo comes after the second chorus, followed by the last bridge and chorus, closing in a bestial rhythmic section all about insane pulses, drum rolls and abrupt ending.
This song reminds me at times of the Sepultura sound in Chaos A.D. – although Sadism is more diverse in terms of musical elements. “Parousia” honors the origins of the genre, yet adding textures and nuances.
And I must say it: such a luxurious guitarist Hidalgo is, heck!
Finally, “Made of Sulfur” is track 10th, lasting for 04:55’, wrapping up this amazing adventure. The lyrics, I warn you in advance, are a slap in the face to the Catholic Church, Vatican and the Basilica of Saint Peter directly, the “Sinister Castle“. This institution is, according to this story, the true cancer of the world. Every capital sin is committed here, every crime is hidden here. The most twisted and foul rituals take place within this institution. And in every priest, monk or pope there is a lackey of the grotesque power behind this facade – religion is made of sulfur; It is a facade that hides the real hell on earth.
Religion is a prison for the human mind and soul, in addition to being a neat business where the poor are stripped of their money through tithes/offerings with the promise of a greater blessing.
And what can we say about the children raped by priests around the world? About all women who were burned alive for their knowledge of herbal medicine during the Middle Ages? About those native aboriginals who refused to adopt the Catholic religion and were massacred?
The church is the greatest shedder of innocent blood. He is responsible for the extinction of many free peoples, exterminated by his minions Crusader Knights, or inquisitors – who were nothing more than psychopaths with power, a cassock and a Bible!
The ultimate message is this: the Church is the greatest deception, the most disgusting lie and the biggest terrorist in the world. It is the real enemy of souls, even though they had adorned themselves in gold, purple and scarlet, even if they had hidden their rottenness under a mask of righteousness…the Church is the true enemy.
Musically speaking, this track is among the best of the album, kicking off with a spectacular intro – a marking of passage, then a “warcry” that unleashes hell! Fast tempo rhythmic base and intense riffing, like gusts, INSANE! The verses and the choruses go at a slower tempo, yet fiery in intensity. The bridges accelerate the pulse, follow the rhythm of the intro and are simply thunderous, incredible. The howling solo of the genius Gabriel Hidalgo feels like having your foot on the accelerator on a roller coaster leading you to the final section, a final lyric bridge and the melody fading, masterfully closing this intense journey full of nuances, textures, darkness and mastery, just as these geniuses of Chilean Death Metal have been doing for almost 4 decades.
In short, “Obscurans” offers an odyssey through dark places and thunderous melodies. It openly explores multiple spiritual and historical horrors, without mincing words. Each of its 10 chapters combines brutal riffing in the hands of genius Gabriel Hidalgo – the band’s only guitarist nowadays- along with dynamic rhythms and direct lyrics, straight to the bone, telling us about the corruptibility of the human being and the darkest and most grotesques sides of power and religious faith. From the murderous horror of the Middle Ages to the brutally honest criticism of the Church and religious hypocrisy, “Obscurans” is a must-listen for Death Metal fans, and backs Sadism’s solid legacy within the genre.
“Obscurans” is not just an album: it is an odyssey that invites us to look at uncomfortable truths through music – Death Metal is not just Satanism or inverted crosses: it is also an opportunity to look, through the lens of music, at those places that do not we dare, that we avoid out of shame, fear or anxiety.
Therefore, I rate “Obscurans” by Sadism: 9.5/10 Epic Storm.
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9.5/10 Epic Storm
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