⛧
The Magus (1988)
Recorded in 1988 and released a few years later, The Magus is a chaotic maelstrom of death/thrash with a blackened edge that drips with raw, primitive aggression. This must be what hell would sound like if it existed. The vocals, raspy and demonic, recall Morbid Angel’s Altars of Madness, perfectly suiting the ferocity of the material. Despite the rough production and sheer brutality, the playing is surprisingly tight, though the album rarely offers a riff or solo that stands out as memorable. Instead, it’s the cumulative effect of this cacophony of infernal sounds, driven by chromatic riffs and dissonance, that creates an oppressive atmosphere.
Sadistik Exekution avoids melody and harmony, using riffs that barely repeat and notes that often clash on purpose, making the music feel claustrophobic and evil. The drums rarely sync with the guitars, sometimes blasting at full speed while the guitars hold back, or switching it up to throw the listener off balance. This push and pull makes the music feel like it’s tearing itself apart at the seams, adding to the sense of chaos and unpredictability. The structure shifts constantly between blast beats, mid-tempo sections, and awkward rhythms, never settling into anything familiar.
The sound shares the raw aggression of ’80s Brazilian black/death/thrash bands like Sarcófago, but while those bands had more memorable riffs, The Magus is far more fragmented and chaotic, favoring a relentless, unsettling barrage over hooks. At times, it sounds like the songs were recorded in different sessions, with mix and tone changing noticeably. Even the bass is oddly louder than guitars on “Agonizing the Dead,” which diminishes the guitar’s potential. But none of that matters as much as the overwhelming, hellish atmosphere The Magus conjures. This is an unrelenting assault that is less about traditional songwriting and more about creating a sonic nightmare If you want to hear something purely evil, listen to this.
Sadistik Exekution avoids melody and harmony, using riffs that barely repeat and notes that often clash on purpose, making the music feel claustrophobic and evil. The drums rarely sync with the guitars, sometimes blasting at full speed while the guitars hold back, or switching it up to throw the listener off balance. This push and pull makes the music feel like it’s tearing itself apart at the seams, adding to the sense of chaos and unpredictability. The structure shifts constantly between blast beats, mid-tempo sections, and awkward rhythms, never settling into anything familiar.
The sound shares the raw aggression of ’80s Brazilian black/death/thrash bands like Sarcófago, but while those bands had more memorable riffs, The Magus is far more fragmented and chaotic, favoring a relentless, unsettling barrage over hooks. At times, it sounds like the songs were recorded in different sessions, with mix and tone changing noticeably. Even the bass is oddly louder than guitars on “Agonizing the Dead,” which diminishes the guitar’s potential. But none of that matters as much as the overwhelming, hellish atmosphere The Magus conjures. This is an unrelenting assault that is less about traditional songwriting and more about creating a sonic nightmare If you want to hear something purely evil, listen to this.
(23 May 2025)
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