The purposeful anachronism of “Guerra Eterna” draws on the influences of archetypal bands such as Bathory, Sodom, Hellhammer, Tormentor, and Sarcofago to achieve a product that both pays homage to its ancestors and creates something unique through a recombination of elements that were particular to the individual bands of this conglomerate. Of all of its most discernible influences, “Guerra Eterna” perhaps most easily can be associated with “The Return…...”-era Bathory in terms of its epic song structures and resonant atmospheres. Meanwhile, throughout its many mid-tempo segments in particular, the rotundity and tone of the guitar riffs and bass lines are notably reminiscent of Hellhammer, whereas the faster tempos and vocal deliveries often hint at the unhinged ferocity of ancient Brazilian black metal, as it was typified by Sarcofago and Vulcano. In case these ingredients alone were not enough to satiate one’s appetite for ancient black metal, Sacrificio demonstrates that its worship of the early breeds of this dark art results not from a lack of instrumental competence. Instead, Juan C. Deus proves himself to be quite proficient in the conflagrant variety of guitar leads that cause some to categorize early Sodom as thrash instead of black metal. Finally, but not least significantly, Sacrificio has chosen to eschew more modern trends in recording equipment and production in its desire to emphasize fullness of effect over sterilized crispness. The combined sum of these parts reaffirms the timelessness of the original black metal movement and proves that, given the requisite dedication to an archaic craft forgotten by many, it is in fact possible to recapture and thus further the scope of influence of a bygone era.
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