Review by Chris Pratl on October 9, 2018.

One of the greatest exports from Brazil comes by way of one of the most influential assemblages in the underground pantheon of black thrash metal. Sarcofago has seen its influence in every corner of the world; from Norway to California, these Brazilian guys have taken the art form of lo-fi simplicity and made it all the more important and enlightening for the salivating masses some 25-years later. As I might personally attest, pre-Internet, finding any physical copies of any Sarcofago records years ago was absolutely impossible, and such is just one of the wonders of the ‘net that these albums found their way into my greedy hands over the last few years. For those among us not familiar with the sound of Sarcofago, fear not, as Decade of Decay is the absolute perfect place to begin with thanks to Grayhaze Records striking a deal with Brazil’s Cogumelo Records for U.S. distribution. 

Sarcofago, in the basest terms, is a childhood nightmare come to roost in your head as you revisit all of the sociopathic ideas you once thought lost to time and reason; you’ll quickly note that not all of these emotions are easily dismissed when prompted by the right musical stimuli. 

Originally released in 1995 in near-impossible-to-find numbers, Decade delves deep into the din of darkness with a myriad of tracks indicative of the band’s incredible output since the mid-80’s. Finally seeing a reissue, this album is a must-own for those unfamiliar with the band’s actual sound but steeped in the current black thrash movement - there is no other band save for Venom, Bathory or Celtic Frost that can lay claim to this style and, sadly, the Brazilian horde is often overlooked by the larger, more commercial milieu. The fantastic thing about this collective is that every facet of the band’s history is represented to the absolute best degree; there was no picking soft, accessible tunes for this foray. To firmly grasp and understand the fury that is Sarcofago, it is always best to tap the best that the band offers, and these tracks are the epitome of that. 

From the influences of Slayer in “Screeches from the Silence” to the undeniable Venom shadows of “Nightmare” or “Satanic Lust”, there is no copycat lifting involved here; the music is allowed to stand within its own shade, with every particle of the band’s sound covered. When you hear Sarcofago, you will almost immediately hear any of the main players of the mid-80’s era that dedicated themselves to the underground movement of Satanic-themed thrash metal, and this usually comes around the The Laws of Scourge era from ’91. This sound also employed some generous death metal elements more geographically rooted in the States as opposed to Sweden or Germany from this period, and it was very potent. The trek backwards through the record from the first track down is interesting in itself. The album begins with the then-latest record in Hate from 1994 and moves hauntingly down the spectrum, like a recluse spider seeking the darkest corners of the environment. It’s also good to hear Sarcofago at its sonic ‘best’ in terms of production and mixing, and while this takes nothing away from the cultivated sound they made famous, it does let you enjoy the music to its absolute pinnacle. That said you can also see the ‘digression’ as it is; that is, you see the more polished Sarcofago right off that is an all-around tighter sound that gradually eases down into the abyss of poorly-produced historical relevance; this portion resembles more Norwegian black metal as you get to the demo phase of the band’s career or even ‘87’s I.N.R.I., a heralded masterpiece among ardent black thrash fans, and the influential style is easily identifiable and undeniable. This is most certainly a band that holds up some four decades after the fact, a rarity in any movement. 

Everything from Rotting to the Satanic Lust demo is a genuine treat as you get to hear some of the earliest forms of this sub-genre that aren’t attached to the obligatory mention of Venom; sure, Venom will always be the forerunners of the medium, and with just cause, but a band like Sarcofago, in many instances, houses a more unfiltered sound. When I heard Venom for the first time as an eager 11-year old in the summer of 1983 I was so immersed in the mystique as well as the sounds. Now at 40 I am still amazed enough to be a lifelong “Legion”, but I will admit to hearing a bit more depth to a small number of bands that picked up the mantel post-At War with Satan to a much more sinister degree. One listen to “Recrucify” or “Third Slaughter” should lend credence to this statement as it infects your psyche and stirs your senses accordingly, ala “In League with Satan”. In fact, the “Third Slaughter” track always made me think of early Sodom ala Obsessed by Cruelty, so the gamut was run in terms of influence and impression early on. 

For the treasure hunters among us, you’ll do yourself a service to hear Sarcofago for the first time. While some of the material is, in a word, dated, it still resonates like a thick layer of bonfire smoke hanging in the air and sucking the very life out of the general vicinity. The music is vastly primitive, but within the module of said antiquity is a true delight from the dimmest recesses of evil and degradation.

Rating: 8.5 out of 10

(Originally written for www.metalpsalter.com)

Review by JD on June 4, 2012.

No matter how broad metal gets, sometimes going to a more simpler-yet-brutal rout is the way to go. Brazilian Black/Thrash masters Sarcofago are unknown heros in Metaldom, bringing back brutal old school Satan inspired metal.

Led by ex-Sepultura singer Minas Gerais Antichrist (real name: Wagner Moura) who left due to the direction that the band was taking. He found some like minded musicians that wanted to play basic, primal Black Metal that is close to very early Bathory, Hellhammer or even Venom... and Sarcofago was born. They never attained the status like Sepultura, but they were a blood thirsty cult following in both South America and Europe as well.

Tracks like the infectious blasphemy of 'Satanic Lust' to the ultra Black/Speed destruction that is the cut called 'Song For My Death' are heavy and very primal slabs of straight ahead old school BM. It is raw and aggressive, and has no room for the more orchestrated songs that some of the bands today have. This is almost feral in nature, which perfectly brings every evil word uttered into clear view - ands scares the crap out of every Christian that inhabits the world.

I love compilation albums at times, especially when I know little to nothing of the band. I have heard of Sarcofago over the years, and am glad to put the music to the name. With twenty songs offered up, you get to know the band well and will be thrilled. This is exactly the type of Black Metal that I grew up on, and always gravitate to when wanting my Satan fix... and all delivered with simplistic malevolence that is lacking with BM today.

The band is sadly now split up for a very long time, but their blasphemous legacy still holds the full power. All Black Metal bands need to take some serious lessons from this band - that every song does not need a Degree in Music, just passion and a fuck you attitude.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 9
Production: 8
Originality: 9
Overall: 8

Rating: 8.6 out of 10

Review by Alain on March 16, 2020.

It´s time to return to one of the most prolific and respected black metal scenes in the world, the one of Quebec. This Canadian region is well-known due to its strong pro-independence movement. This time and contrary to other highly rated bands, I am reviewing a band with, as far as I know, no political connections at least, if we speak about the lyrical contents of their albums. The band is called Délétère and it was formed in 2009 by Atheos and Thorleïf, who have been the unique permanent members of this project, only accompanied by several musicians who helped them in the studio or on stage. Both members have previous experience in excellent bands like Forteresse or Utlagr, just to say they are strongly connected to the extreme metal scene of Quebec. Though the band exists for nine years, they have only released two albums, the excellent debut Les Heures de la Peste and the new opus De Horae Leprae.

The new effort has a similar concept as the debut album. The lyrics deal with medieval times, and specifically with death and mortal diseases. This time, the album´s concept seems to deal with leprosy, another disease very frequent in the medieval times. Musically speaking, Délétère continues with the tradition settled by other bands of the scene. The band plays a kind of aggressive black metal, focused on powerful riffs, melodic and atmospheric. If I should compare the band´s sound to, for example, Forteresse, I would say that Délétère has a darker approach fitting perfectly well with the tenebrous lyrical concept the band develops. The second track, 'Cantus II-Sagina Caedencis', is a fine example of somber guitar chords, which open the song and later accompany the main guitar riffs. But it´s not the unique example of this somber tone as a song like 'Cantus V-Figura Dysphila' has also some especially dark sections. Though the album has in general terms a very aggressive tone and was very focused on creating powerful riffs, the band adds, from time to time, some elements to enrich its musical offer. For example, the opening track, 'Cantus I-Teredinis Lepra' or the fourth song, 'Cantus IV-Inopia et Morbo', have occasional keys sounding like an organ, which of course fits with the medieval concept behind the band's music. This use is increased in the last track, 'Cantus IX-Oratio Magna', my favourite song, as it sounds more medieval and atmospheric than any other song of the album, mainly thanks to these organs. What about the vocals? Well, I can safely say that Thorleïf delivers as a vocalist. His screams are powerful and high-pitched, they are easily audible as the production is quite good, raw enough, but with the majority of the instruments and the vocals themselves, easily distinguishable. Vocally speaking, we also find tiny tries to add some variety as the band introduces some clean vocals, which sound like a dark choir, very medieval yet again, tough they are scarcely used in songs like 'Cantus II-Ichthus Os Tremoris'. The album has overall a quite fast pace, though the drums have a healthy combination of blast-beasts and slightly slower sections, almost never really slow but something between fast and mid-paced patterns, which obviously help to create non-monorithmic songs.

To sum up, Délétère has released a very good sophomore album which I wouldn't define as a masterpiece, but a very enjoyable black metal album with some nice touches, which make it an interesting listen. Very recommendable if you follow the excellent black metal scene of Quebec.

Rating: 7.5 out of 10

Review by Felix on May 22, 2019.

Métal noir Québécois is still a young movement and its unspoilt energy has already enriched the global black metal scene. Endless guitar lines characterize the new sound and Délétère is a very good representative of this amazing style. The dudes took the direct way into my metallic heart with their debut and the subsequent EP and therefore it was a matter of course to buy their new full-length. The promo sheet tells me that it is a concept album about a leper who becomes both a prophet and the incarnation of the plague, but the French language gives me no chance to understand the probably interesting details. Nevertheless, I like the fact that they use this language, even though the lyrics do not deal with patriotic topics. It is an identity creating feature of their sub-genre and it has its own special sound which fits much better to metallic infernos than I thought.

However, nine "French" songs in 64 minutes are by no means an easy listening stuff. In spite of the coherent song patterns, it takes a little time to feel comfortable in the cosmos of the Canadians. But as soon as one has a grasp for their way of proceeding, the songs shine in full bloom and they grow with every new round. It remains a mystery to me why they have recycled a track of the excellent EP, yet this is no problem at all in view of the opulent playtime. The new version of the wild, blustery and phenomenal "Cantus IV – Inopia et Morbo" blends seamlessly with the new material, because the stylistic approach has remained unchanged. This means that the band unfolds its entire repertoire of dramatic, furious, desperate and aggressive yet mostly melodic elements, while the velocity is more or less constantly high (only the eighth piece presents a calm intermezzo). The complete material avoids trivial flatness, quite the opposite. Tracks like "Cantus II - Sagina Caedendis" reveal an enormous depth and create a sombre atmosphere.

Generally speaking, each and every tune boasts with vibrancy. Fire enlightens the path of the divisions from Quebec and the here reviewed work does not intend to decrease the temperature. The material is like a vortex that drags the listener directly to the torrid center of the earth. It does not lack rough edges, nonetheless, the irresistible flow of the compositions, another trademark of Quebec's legions, deserves respect. Moreover, the single contributions do not suffer from fundamental flaws. The charismatic lead vocals, for example, express many different emotions like fear, despair, fury or hysteria. Although the instrumental wall of sound takes its toll, the voice is not pushed into the background. The drums sound slightly blurred, but I guess this is just a collateral damage in view of the hyper-fast hammering that shapes broad parts. Keyboards and organs also show up, presumably due to the religiously motivated concept. But no need to panic, they are well embedded and increase the density of the sound. The "shortest" track (5:42), "Cantus V – Figura Dysphila", is among those numbers which prove evidence that keyboards can add value to the sound of the Canadians. By the way, the same goes for the timpani in the seventh track.

All in all, there can be no doubt that Quebec's scene is a force to be reckoned with. Even better, it stands firmly on its own feet. One can argue that Délétère's sound is not original, because it equals that of Forteresse and further bands from the Canadian metropolis. But the black metal explosion in this town is exactly based on this sound and the comparable approach of the different protagonists has become the most important characteristic of this movement, because it shows impressively that the whole is more than the sum of its parts. So, thumbs up for an album that avoids boring ambient sequences. Actually, promising bands like Sanctuaire that have yet to unleash their full potential, can learn from this output how black metal really works. The fantastic, eclectic and majestic yet predominantly fast closer alone has everything it needs to stimulate the ambitions of the band's competitors (and my ambitions to take a trip to Quebec). Furthermore, it is the final proof that the album deserves a rating of, well, let's say 9.1. So what else can I do?

Rating: 9.1 out of 10