ÜÛÛÛÛÛÜ °ÛÛÛÛÛÜ ÜÛÛÛÛÜ°ÛÜ °ÛÜ ÜÛÛÛÛÛÜ ÛÛÛÜÛÛ ÜÛÛ ÜÛÜ ÜÛÛÛÛÛÛ ÜÛÜ ÜÛÛÛ °ÛÛÛÛ°ÛÛßÛÛÛÛ² ßÛÛ ÜÛÛ°ßÛÛÛÛÛ ÛÛÛÛ ÛÛÛ² ÛÛÛÛÛÛ²ÛÛ ²ÛÛÛÛÛÛÛ ÛÛÛ²°ßÛßÛÛÛÛ ÛÛÛ² ÛÛÛ² ²ÛÛÛ° ÛÛ ÛÛÜ ÜÛÛ²ÛÛ ²ÛÛÛ²ÛÛ° ²ÛÛÛ°ÛÛÛ°ÛÛÛÛÛÛÛÛÛÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ° ÜÛÛÛ ÛÛÛ ÜÛß° ÛÛÛÛÛÛÛÛ°ÛÛ ÛÛÛÛÛÛÛÛÛÜ ²ÛÛ°ÛÛÛ ÛÛÛ²ÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛ ÛÛÛ ÛÛÛ° ÛÛÛÛÛÛÛ ÛÛÛ² °ÛÛ ÛÛ ÛÛÛÛÛÛ² °ÛÛ ßÛÛ ÛÛÛ°ÛÛÛ²ÛÛÛÛÛÛ ÛÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛÛÛÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÜ ÛÛ²ÛÛÛ° ÛÛÜ ÛÛ°ÛÛ² ÛÛÛ ßßÛÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ²°ÛÛÛÛÛÛÛ° ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ²ÛÛ²ÛÛ° ÛÛÛ ²ÛÛÛÛ ÛÛÛ ÛÛÛ ²ÛÛ² ÛÛÛ ÛÛÛ° ²ÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛÛ ²ÛÛÜ ²ÛÛÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ °ÛÛÛÛÛÛ ÛÛÛ °ÛÛÛÛ °ÛÛÛ ÛÛÛ²ÛÛÛ² ÛÛÛ °ÛÛÛ ÛÛÛ ÛÛÛ ÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ ²ÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ °ÛÛÛÛÛ ÛÛÛ ÛÛ²°ÛÛÜ ÛÛÛ ²Ûß ²ÛÛÜ ÛÛÛ ÛÛ° ÛÛÛ ÛÛ² ÛÛÛ ÛÛÛ °ÛÛÛß °Ûß ÛÛ° ÛÛ °Ûß °ÛÛÛÜ ß ß ²Ûß ÛÛÛ° °Ûß ÛÛß ÛÛ° ÜÛÛß °ÛÜ ÜÛÛÛß °ÛÛ ° ÛÛ ²° ²° ÛÛ° ²Û° °Ûß ßÛ° °Û² ° ÛÛ ÛÛ Artist: Sacrosanct ÛÛ ÛÛ ² Û°° þÛ Album: Truth Is - What Is Ûþ °°Û þ Û²ß Û Year: 1990 Û ß²Û ° Û ² Rel. Date: 2019-03-09 ² Û ± ± Genre: Thrash Metal ± ± ÛÜ ° Label: No Remorse Records ° ÜÛ ° ÛÜ ° Source: CD ° ÜÛ ° Û² Type: Album ²Û ° ² Û Quality: VBR, 44.1kHz, Joint Stereo Û ° ² ² Û Û ° ² Ü þ þ ² þ °Û Û° ß Û Sacrosanct is another formation that never reached Û Û the attraction of a greater audience. The (first) Û Û golden age of thrash metal had already ended as Û Û the guys appeared on the surface and I guess the Û Û year of the release of their debut had an Û Û influence on their compositions. "Truth Is - What Û Û Is" does not house generic thrash metal and the Û Û Bay Area is geographically and musically far away. Û Û Instead, the music offers some rather unusual Û Û moments (for example the emotional break in "Skin Û Û to Skin") without hiding its thrash base. Û Û The bone dry sound and the mostly almost Û Û impersonal vocals fit the futuristic (and pretty Û Û good) artwork. The guitar work bears some Û Û similarities to that of Deathrow's "Deception Û Û Ignored" (for example the slightly squeaky riff in Û Û "Execrated (They Will Be)" which sets in after 35 Û Û seconds) and is technically affine, but egoistic Û Û gimmicks do not occur. The music has a pretty dark Û Û aura, not apocalyptic, but robotised and soulless. Û Û And to avoid misunderstandings, these attributes Û Û have a positive meaning in the context of this Û Û work. The no-single-gram-of-fat-approach avoids Û Û any grain of glamour and Sacrosanct cultivate the Û Û coldness of their compositions successfully. Û Û The gang does not play a very rapid style of Û Û thrash and the comparable solid amount of breaks Û Û and tempo changes rather leads to multi-layered Û Û structures than to simple song formulas. Û Û Nevertheless, there are some straight parts and Û Û Sacrosanct are able to equip them with the Û Û necessary currishness. "The Sickened Thrill" must Û Û be mentioned in this context, but its neighbour Û Û "Terminal Suicide" also prefers a relatively Û Û straight and direct pattern (with the exception of Û Û the solo section). Especially the latter one has Û Û an energizing aura and invites the listener to a Û Û little headbanging session. The same applies for Û Û "Disputed Death" whose choruss surprises with a Û Û very effective line. Its average velocity is also Û Û remarkable and it is therefore no wonder that the Û Û song belongs to the most convincing numbers. Û Û Production-wise, I do not have any problems with Û Û the album. It could be more direct and it is Û Û definitely no wall of sound, but everything is Û Û more or less well balanced, the necessary Û Û robustness is not missing and even the bass guitar Û Û is present. The quality of the mix suits the Û Û quality of the song material. "Truth Is - What Is" Û Û does not belong to those albums whose songs get Û Û weaker and weaker the longer the outputs last. Û Û Even the two bonus tracks on the CD edition do not Û Û stand in the shadow of the regular songs. Û Û "Injured", for instance, boasts with its concise Û Û chorus. In my humble opinion, the careful Û Û elaboration of these bonus tracks indicates the Û Û honesty of a band that does not want to fool the Û Û potential buyers of their work. Û Û The more or less monumental, dark and pretty Û Û complex title track finishes an album which offers Û Û not spectacular, but very sincere thrash pieces. Û Û Neither very progressive nor simple, neither Û Û totally furious nor lame. Maybe this was a kind of Û Û catch-22 situation for the likeable guys. Anyway, Û Û if one has the chance to lend an ear to this Û Û debut, I recommend to take the opportunity. Û Û Û Û --- Û Û Û Û We have to be grateful for the fact that Randy Û Û Meinhard left Pestilence in the early stages thus Û Û providing the metal world with one more great act Û Û to enjoy. It’s not relevant to compare both Û Û outfits as they operated within different metal Û Û confines; and, Sacrosanct never managed to break Û Û out of the underground thus remaining in the Û Û annals of the great unsung heroes from the 90’s Û Û European underground. Û Û Meinhard simply had too much talent and ideas in Û Û abundance to continue residing in the shadow of Û Û the other band; he had to find other ways of Û Û expression, and here it was, the birth of Û Û Sacrosanct became a fact. The man also brought the Û Û drummer Marco Foddis from the Pestilence camp, but Û Û he only stayed around for the demo (“The Die is Û Û Cast”, 1989) recording which nicely introduced the Û Û band’s flamboyant technical thrash style, and also Û Û saw Meinhard partnering quite well with another Û Û gifted axeman, Michael Cerrone. Their Û Û collaboration reaches its peak on the album Û Û reviewed here, a standout piece of metal Û Û considered by some as a show-off vehicle for Û Û Meinhard. Although the man was indeed eager to Û Û show what he was capable of to whoever was Û Û interested with this first showing, this opus is Û Û much more than flashy dazzling guitarisms, Û Û providing the more energetic, more spastic Û Û analogue to “Recesses for the Depraved”, the Û Û band’s magnum opus. In this train of thought, it’s Û Û almost as compelling and absorbing and with its Û Û more vivid and flexible structures, it may even Û Û fascinate some fans more than the sophomore saga. Û Û “Dimensions of Violence” is a grand virtuous Û Û opening which unleashes stunning blitzkrieg riffs Û Û their vigour matched by the cool semi-death Û Û metal-ish vocals which keep up with them in a Û Û spat, semi-declamatory manner; impetuous gallops Û Û get introduced later to enhance the unique drama Û Û which becomes more appetizing on “Execrated (They Û Û Will Be)”, another fast-paced shredder with abrupt Û Û technical decisions and more rigorous galloping Û Û strides. “Skin to Skin” is a dense “riff to riff” Û Û arrangement with an early showing of the leads as Û Û the rhythm-section marches onward in a steady Û Û steam-roller fashion until a cool balladic Û Û interlude interrupts the “noise”. “The Sickened Û Û Thrill” is quick to show the guitar players’ Û Û masterful interaction before the song settles for Û Û more intense headbanging thrash with few stops Û Û from the roller-coaster. “Terminal Suicide” Û Û inaugurates hectic staccato riff-patterns being Û Û the next in line speedy piece with more frequent, Û Û both melodic and technical, stoppages along the Û Û way including a marvellous symbiosis between the Û Û two at the end. Û Û “Disputed Death” starts with a breath-taking quiet Û Û cut which grows into more hard-hitting passages Û Û and swirling screamy leads the guys preserving the Û Û brilliant technical show-off as a finale again. Û Û “The Die is Cast” is a superb technicaller, maybe Û Û showing that it was unfairly absent from the demo Û Û of the same title, with great stylish rhythms and Û Û stunning deathy accumulations which “fight” with Û Û the overflowing technical exuberance the whole Û Û time. “Catelepsy” carries on with the Û Û super-technical rifforama without forgetting about Û Û the fast-paced factor resulting in pleasant Û Û surprises for both the headbangers and the Û Û progressive metal lovers as both sides will savour Û Û the blazing leads which occupy more space here. Û Û “Injured” will “injure” everyone around with its Û Û lashing riffage partly betraying the hyper-active Û Û technicality presented earlier leaving all the Û Û “laurels” to the closing title-track which finds Û Û time for a serene balladic stroke before the Û Û engaging progressive thrashing resumes with some Û Û of the most outstanding intricate speedy “salads” Û Û this side of Helstar’s “Nosferatu”; but that's not Û Û all as later on one will come across more shining Û Û exploits with labyrinthine vortexes spiralling in Û Û and out of existence. Û Û Yes, this is an intentional display of talent, and Û Û that’s why it can’t possibly be anything short of Û Û amazing. The guy(s) were only too well aware of Û Û their abilities, and they had no intentions on Û Û keeping them buried. Besides, their approach was a Û Û fairly unique one not recalling any particular Û Û practitioner from the field, maybe the Germans Û Û Despair who were already in full swing at the Û Û time; and the Canadians Obliveon’s first steps Û Û into the arena (the debut “From This Day Forward” Û Û released the same year). Still, this masterpiece Û Û here was superior with more impressive guitar work Û Û the guys finding the right “recipe” to also make Û Û every composition memorable. It also opened “a Û Û valve” of creativity in their homeland which led Û Û to the emergence of other talents like Donor, Û Û Decision D, Altered Moves Two, Paralysis, Û Û Creepmime, Rhadamantys, etc. Suddenly Holland was Û Û the new Mecca of all things progressive and Û Û technical in metal rivalling their neighbour Û Û Germany every step of the way. Û Û Meinhard failed to keep his comrade Cerrone for Û Û one more spell; in a manner quite similar to him, Û Û Cerrone left his first “shelter” to embark on his Û Û own “crusade” with his new outfit Imperium which Û Û was a short stunt, but survived long enough to Û Û record “Too Short a Reason” (1993), an excellent Û Û slab of classic progressive power/thrash, their Û Û only legacy to the scene. Meinhard continued his Û Û ascension with the colossal “Recesses for the Û Û Depraved” before testing slower, doomy waters with Û Û the swansong “Tragic Intense” (also 1993), bidding Û Û farewell to his “love affair” with thrash which Û Û produced some of the most unforgettable moments Û Û from the history of the genre. Û ² ² ± ± ° 1. Dimension of Violence 3:56 ° ° 2. Execrated (They Will Be) 5:20 ° ° 3. Skin to Skin 4:28 ° ° 4. The Sickened Thrill 5:16 ° ° 5. Terminal Suicide 4:27 ° ° 6. Disputed Death 3:39 ° ° 7. The Die is Cast 4:57 ° ° 8. Catalepsy 4:09 ° ° 9. Injured 3:27 ° ° 10. Truth is What Is 7:16 ° ° 46:55 ° ° ± ± ² Û ° ² ° þ ÛÜ ° ÛÛ ßÛÜ° ÜÜÜÜÜ ² ° ÜÜÜÜÜ °ÜÛÛ° ° ßÛÛÛÛ²ÛÜÜÛÛÛÛÛÛÛÛÛ²° ÛÛÛ ÛÛÛ²° ÛÛÛÛÛÛÛÛÛÜÜÛÛÛÛÛÛß ² ²ß² ±ÛÛÛÛÛÛÛßß ßÛÛÛÛÛÛÛÛ± °ÛÛÛÛÛÛÛÛß ßßÛÛÛÛÛÛÛ°²ß² þ ° ÜÛ°ÛßßÜÛÛÛÛܲ ßÛß Û²° ±²Û ßÛß ÜÛÛÛÛÜ ßÛÛÛÜ° ÜÛß° °ÛÛÛßßßÛÛÛÜ ßÛ± ÛÛ² ÛÛ ²Ûß ÜÛÛÛßßßÛÛÛ° ßÛ° Ûß ²ÛÛ² ÜÛÛÛ ßÛ² ÛÛÛÛ ±Ûß ²ÛÛÛÜ ²ÛÛ² ßÛ² Ûß ²ÛÛ° ±ÛÛÛÛÛÛ² ßÛ Û² Ûß ²ÛÛÛÛÛÛ± °ÛÛ² ßÛ ± ÜÛÛ °ÛÛÛ ²ÛÛÛ² ß°ÛÛ°ß ²ÛÛÛ° ÛÛÛ ÛÛÜ ± °Ûß ÛÛÛ Üß ÛÛÛÜ ²ÛÛÛÛ± ÜÛÛÛßÜ ÛÛÛ ßÛ° ²Ûß ÜÛÛÜÛß ° ÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ßÛÜ ÛÛÜ ßÛ² Ûß ÛÛÛÛßÛܲ°ÜÛ ßÛÛÛÛÛÛß Ûܲ°ÜÛßÛÜÛÛ ßÛ² ° Ü ÛÛß ßÛÛÛÛß ßÛ²ßÛÛ ßÛÛÛÛß ßÛÛÛ Ü ± Û°Û² ÛÛ° Û° Û °ÛÛ ßÛÛ±Û ÛÛÛ° ±Û° Ü ² ± °Û± ²ÛÛÛ ° ²ÛÛ ° ÛÛ² ÛÛ° °ÛÛ Û± ° °Û ßÛ Ûß ² ° °