Sadist
Above The Light

That music is one of those plants that can take root anywhere in the world, at any latitude and longitude, is clearly demonstrated by listening to "Above the Light" by the Genoese Sadist.

In the '90s, riding the wave of overly easy enthusiasm justified by the mirage of dollar bills falling from the sky, music producers from half the globe (especially in the Tampa area of Florida and the Scandinavian Peninsula) were churning out presumed groups like hot loaves that claimed to rise and stand as impregnable bastions of progressive and innovative modern Death Metal that the genre's history could tell.

Let's be clear, from that barbaric horde of grim individuals in leather and studs with beards and long hair that would make Attila blush, names of the caliber of Cynic, Pestilence, Morbid Angel, Nocturnus, Atheist, Carcass, and Entombed would emerge. All masters of the genre, all very skilled musicians, all with top-notch sponsors and promotions, recording rooms and productions that would even make those five little brothers of Take That envious.

In those distant (alas!) '90s, in the shadow of the Lantern of Genoa arose a group that, given the conformity of our beautiful Liguria region, wedged between the sea and snowy peaks, should have remained in anonymity and the deepest darkness. Environmental issues and structural problems did not seem to scare those three willing youngsters who, in 1993 under the name Sadist, released an album that even today, almost 20 years later, is considered a fundamental, if not indispensable, part worldwide of what would come to be known as "Melodic Death Metal" in our days.

What better opening than the sound of the sea and the seagulls that are so dear and familiar to us Genoese?

Sadist excelled even in this, never losing sight of the creativity that, in Metal intros, had become the most predictable routine... An organ, an accompanying demonic voice, chains, footsteps on rotten wooden beams... what a bore! The excellent "Nadir" is the perfect appetizer (of anchovies, naturally) of what's to come.

Mighty guitar riffs, growl vocals that seem to come from the underworld of Staglieno (the cemetery of Genoa for those who don't know...), symphonic and classical pieces of unparalleled freshness and harmony ensure that the album never loses interest and flows smoothly and cleanly.

Horror-like keyboard inserts reminiscent of Goblin, slowdowns worthy of the best classic metal bands, and furious accelerations ensure that songs like "Enslaver of Lies," "Brethin Cancer," and "Sometimes They Come Back" rightly enter the hall of fame of devil's music.

Take heed, folks, modern Death Metal was not born in the desolate lands of Sweden or in some billionaire studio in Florida... It had the flavor of fresh pesto and a good glass of Vermentino.

The Gods of Metal looked towards the Gulf that day and ensured that Tommy, Peso, and Andy gave us what Liguria, in musical terms, never thought could be contemplated.