Sacrosanct "Truth Is - What Is" CD

We have to be grateful for the fact that Randy Meinhard left Pestilence in the early stages thus providing the metal world with one more great act to enjoy. It’s not relevant to compare both outfits as they operated within different metal confines; and, Sacrosanct never managed to break out of the underground thus remaining in the annals of the great unsung heroes from the 90’s European underground.
Meinhard simply had too much talent and ideas in abundance to continue residing in the shadow of the other band; he had to find other ways of expression, and here it was, the birth of Sacrosanct became a fact. The man also brought the drummer Marco Foddis from the Pestilence camp, but he only stayed around for the demo (“The Die is Cast”, 1989) recording which nicely introduced the band’s flamboyant technical thrash style, and also saw Meinhard partnering quite well with another gifted axeman, Michael Cerrone. Their collaboration reaches its peak on the album reviewed here, a standout piece of metal considered by some as a show-off vehicle for Meinhard. Although the man was indeed eager to show what he was capable of to whoever was interested with this first showing, this opus is much more than flashy dazzling guitarisms, providing the more energetic, more spastic analogue to “Recesses for the Depraved”, the band’s magnum opus. In this train of thought, it’s almost as compelling and absorbing and with its more vivid and flexible structures, it may even fascinate some fans more than the sophomore saga.
“Dimensions of Violence” is a grand virtuous opening which unleashes stunning blitzkrieg riffs their vigour matched by the cool semi-death metal-ish vocals which keep up with them in a spat, semi-declamatory manner; impetuous gallops get introduced later to enhance the unique drama which becomes more appetizing on “Execrated (They Will Be)”, another fast-paced shredder with abrupt technical decisions and more rigorous galloping strides. “Skin to Skin” is a dense “riff to riff” arrangement with an early showing of the leads as the rhythm-section marches onward in a steady steam-roller fashion until a cool balladic interlude interrupts the “noise”. “The Sickened Thrill” is quick to show the guitar players’ masterful interaction before the song settles for more intense headbanging thrash with few stops from the roller-coaster. “Terminal Suicide” inaugurates hectic staccato riff-patterns being the next in line speedy piece with more frequent, both melodic and technical, stoppages along the way including a marvellous symbiosis between the two at the end.
“Disputed Death” starts with a breath-taking quiet cut which grows into more hard-hitting passages and swirling screamy leads the guys preserving the brilliant technical show-off as a finale again. “The Die is Cast” is a superb technicaller, maybe showing that it was unfairly absent from the demo of the same title, with great stylish rhythms and stunning deathy accumulations which “fight” with the overflowing technical exuberance the whole time. “Catelepsy” carries on with the super-technical rifforama without forgetting about the fast-paced factor resulting in pleasant surprises for both the headbangers and the progressive metal lovers as both sides will savour the blazing leads which occupy more space here. “Injured” will “injure” everyone around with its lashing riffage partly betraying the hyper-active technicality presented earlier leaving all the “laurels” to the closing title-track which finds time for a serene balladic stroke before the engaging progressive thrashing resumes with some of the most outstanding intricate speedy “salads” this side of Helstar’s “Nosferatu”; but that's not all as later on one will come across more shining exploits with labyrinthine vortexes spiralling in and out of existence.
Yes, this is an intentional display of talent, and that’s why it can’t possibly be anything short of amazing. The guy(s) were only too well aware of their abilities, and they had no intentions on keeping them buried. Besides, their approach was a fairly unique one not recalling any particular practitioner from the field, maybe the Germans Despair who were already in full swing at the time; and the Canadians Obliveon’s first steps into the arena (the debut “From This Day Forward” released the same year). Still, this masterpiece here was superior with more impressive guitar work the guys finding the right “recipe” to also make every composition memorable. It also opened “a valve” of creativity in their homeland which led to the emergence of other talents like Donor, Decision D, Altered Moves Two, Paralysis, Creepmime, Rhadamantys, etc. Suddenly Holland was the new Mecca of all things progressive and technical in metal rivalling their neighbour Germany every step of the way.
Meinhard failed to keep his comrade Cerrone for one more spell; in a manner quite similar to him, Cerrone left his first “shelter” to embark on his own “crusade” with his new outfit Imperium which was a short stunt, but survived long enough to record “Too Short a Reason” (1993), an excellent slab of classic progressive power/thrash, their only legacy to the scene. Meinhard continued his ascension with the colossal “Recesses for the Depraved” before testing slower, doomy waters with the swansong “Tragic Intense” (also 1993), bidding farewell to his “love affair” with thrash which produced some of the most unforgettable moments from the history of the genre.

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