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! ! ! ! !
Artist......: Master
Album.......: On the Seventh Day God Created... Master
Year........: 2022
Genre.......: Death Metal
Type........: Album [REMASTERED]
Label.......: Hammerheart Records
Language....: English
Source......: WEB/FLAC (16bit)
Quality.....: 1045kbps / 44.1 kHz / Stereo
Tracks......: 10 tracks
Playtime....: 00:35:56
Size........: 268.6 MiB
R.Date......: 2026-03-25
S.Date......: 2022-04-15
Url.........: https://open.qobuz.com/album/y6ytcopjr4jia
01. What Kind of God 3:57
02. Latitudinarian 3:21
03. Heathen 4:48
04. Used 3:38
05. Demon 2:52
06. Constant Quarrel 3:13
07. Judgement of Will 2:54
08. America the Pitiful 2:51
09. Whose Left to Decide 4:14
10. Submerged in Sin 4:10
Master's second album recorded by Scott Burns at
Morrissound Studios! Classic 1990's Death Metal!
One of the problems with looking back on a musical genre
from a perspective years or decades removed from the
core of the movement itself is that subsequent
developments tend to obscure both a genres origins and
threads within a tradition that died out without
offspring. As a result, interesting and deserving albums
often get lost in the shuffle as reviewers reflect on
those albums most "influential" upon later achievements.
Death metal pioneers Master are among those who have
been shortchanged as a result of that phenomenon, and
their 1990 masterpiece "On the Seventh Day, God
Created... Master" remains a fascinating exploration
both of the genre's roots and of spaces it might have
occupied haddifferent paths been taken.
There are a couple of things that leap out immediately
to even the casual listener. The first is the seeming
primitivism of the music, with songs consisting of
relatively brief, bludgeoning pieces driven by
relentless rhythms, cyclic riffs and simple melodic
hooks. The second is the realizationthat someone is
playing some seriously insane, brilliantly constructed
leads. In this case, that someone is Paul Masvidal, far
exceeding anything he ever achieved with Cynic.
Beneath the surface simplicity, lies a creative spirit
that at once recalls the primal birth of death metal
(which Master was both present for andvery much a
driving force behind) and points the way to what the
genre might have become. Very apparent are the genre's
hardcore roots, Master here eschewing the Slayer-derived
technical architecture that came to dominate most
"modern" death metal in favor of structures that would
not have been out of place on Discharge's landmark "Hear
Nothing See Nothing Say Nothing" release (there are even
a few appearances of the infamous D-beat). Within the
unrelenting storm of brutal repetition, the music's core
meaning is encoded, a sheer primal rage dripping from
thunderous cycles of power chords and the open throated
roar (again the hardcore influence) of vocalist and
chief songwriter Paul Speckman. To this, Master adds
moments of ponderous reflection where songs collapse
into a sort of high decibel dirge, an innate sense of
how to tease melody from the infernal depths of
dissonance, and the aforementioned Masvidal solos (and
it cannot be overemphasized just how much these leads
rip). What emerges is something that belies its own
apparent crudity, becoming not so much a statement of
blind anger or stymied alienation, but a masterful
declaration of violent intent.