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°ÞÛÛÿÿ Album....: Maestros de la Tiranía ÿ°ÛÛÝ°
²ÞÛÛÿÿ Year.....: 2025 ÿ²ÞÛÛ²
²ÞÛÛÿÿ Rel.ÿDate: 2026-05-23 ÿ°ÞÛÛ²
ÿÞÛÛÿÿ Genre....: Thrash Metal ÿÿÛÛÝ°
°ÿÛÛÝÿ Label....: Mayko's Records ÿÿÛÛÝÿ
ÿÿÞÛÛÿ Source...: CD ÿÞÛÛÿÿ
ÿ°ÞÛÛÝ Type.....: Album ÞÛÛÝ°ÿ
²ÜÛÛÛÛ Quality..: VBR, 44.1kHz, Joint Stereo ÛÛÛÛÝ°
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1. Círculo Vicioso 3:35
2. Arquitecto del Mal 4:54
3. Ciego en las Cenizas 4:20
4. Alquimia de Sangre 3:27
5. Dioses 4:16
6. La corrupci├│n de la Fe 4:22
7. Edorca 3:21
8. Soldados del Terror 4:09
9. Heredando la Esclavitud 2:55
10. Children of the Grave (Black Sabbath cover) 5:25
40:44
Sacrodeath delivers a fast-paced and energetic album with their release
“Maestros de la Tirania,” which came out toward the end of 2024.
In a decade marked by a world that seems to be in a constant state of
turmoil, where harmful ideas once thought to be a thing of the past
resurface in the public sphere with unexpected vigor, revealing a global
society that appears quite decadent.
In such an adverse context, music, like other art forms, serves as an
outlet and a reflection of the chaotic world we live in; bands like
Sacrodeath are here to fulfill that important mission.
The band currently consists of Marcos Salinas on guitar, Felipe Salinas
on bass, Erik Ojeda on drums, and Juan Fern?ndez on vocals. Active since
2004, this band hailing from Chile’s V Region cultivates a rather
aggressive Death/Thrash style with a certain street-style edge, whose
themes are inspired by sociopolitical and religious issues.
Musically, they are a prolific group with several splits, EPs, and three
full-length albums: “Fin de Los Tiempos” (2017), “Engendro del Caos”
(2023), and “Maestros de la Tiran?a,” released on December 8, 2024.
Diving right into the album, “Maestros de la Tirania” greets us with a
very ’80s-style cover, but in very muted colors, depicting a somewhat
gaunt woman in a dark room with her back turned to a series of screens
showing powerful and macabre figures such as a pope, a lodge leader, a
blood-stained Stars and Stripes flag, and a certain president
representing that flag. With such a striking presentation, all that’s
left is to hit play on the album.
“Circulo Vicioso” kicks off with a very American-style thrash sound,
featuring heavy riffs, somewhat tribal drums, and a heart-wrenching
“melodic” vocal style that sings about how lies and wars keep humanity
trapped in a vortex from which there is no escape. Here we have a very
energetic song that, although it feels a bit generic at times, gives us
a good kickstart for what’s to come.
“Arquitecto del Mal” begins with the voice of a news anchor, a song that
at the start brings to mind a sound very much in the style of Slayer’s
“Hell Awaits.” The song tells the true story of Rex Heuermann, a New
York architect and serial killer who murdered several sex workers.
This track stands out for its powerful blast beats and a fast, rising
rhythm, a brief but frenetic guitar solo, as well as a powerful chorus
that goes “architect of evil, a tale of terror”—a chorus that stays in
the listener’s head for a long time.
From Heuermann’s grim story, we move on to the song “Ciego en las
Cenizas,” which begins with a bass line that takes center stage and is
superbly accompanied by the rest of the instruments, especially the
drums, which seem to follow its rhythm in perfect sync, with a double
bass drum providing an impeccable foundation, while, on the other hand,
Juan’s voice recounts a depressing and rage-filled vision of the world,
using a vocal style that shifts between guttural passages and more
heart-wrenching ones. This technique inevitably brings to mind the band
Nails of The Cross, which is no coincidence since this is Juan
Fernandez’s other musical project.
“Alquimia Sin Ley” is a very compact, heavy, fast track with plenty of
“tuca tuca” and drum rolls; it also features a chorus that angrily
repeats the phrase: “blood for blood, spirits of evil, lawless alchemy.”
“Dioses” brings us ever-changing percussion, thrash-style riffs, and a
galloping rhythm to tell us about the gods of humanity’s dawn, in a
track that, both instrumentally and vocally, is one of the most
interesting on this album.
With an opening that brings to mind Slayer’s album “World Painted
Blood,” comes what I consider the best track on this full-length: “La
corrupcion de la fe.” In this song, every element is in the right place:
a rebellious message that lingers like a reverberating echo, a resonant
and clear bass, a crushing guitar, precise drums, and a voice that
utilizes all its technique and fury when singing.
“Edorca” is a track that starts off a bit slower than its predecessors
at first, but is no less heavy for it; it’s a song that builds steadily.
“Soldados del Terror” is a very “old school” thrash track loaded with
anti-war political lyrics; musically, it features a standout
instrumental section that showcases the skill of each band member.
With a machine gun-like drumbeat, “Heredando la Esclavitud” kicks off—a
steamroller of blast beats and riffs that hit you hard, while the lyrics
immerse us in a vision of a world where freedom no longer exists.As we
reach the end of this intense journey, a true metal classic begins to
play: “Children of the Grave” by the indomitable Black Sabbath,
performed almost identically by Sacrodeath but with two variations: the
first being that the song is performed in Spanish, and the second being
the replacement of the melodic vocals with guttural growls, which give
this version its distinctive character.
If one had to define Sacrodeath in a few words, they would be: three
albums, a critical message, and a sonic evolution that ranges from a
rather raw death metal on their first album to a sound with more dynamic
rhythms on their second, culminating in a more balanced fusion of
aggression and speed on their latest release.
“Maestros de la Tirania” is undoubtedly a product of its time, an album
steeped in rage in its lyrics and brutality in its sound. This
full-length album feels like an ascending staircase that, as you climb
it, reveals increasingly magnificent elements: heavier drums, more
pronounced bass lines, more frenetic solos, and a voice that, from the
very first second, guides you through a dizzying narrative.
In conclusion, if you like hard, aggressive metal with strong social
commentary, “Maestros de la Tirania” has a journey full of destruction
waiting for you.
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