siLLy puPPy As i’ve been saying for a number of years now, extreme metal is the new prog at least in terms of avoiding retro copycatism and being the primary innovative of the experimental and avant-garde which provides the world of cutting edge music into the next stages of complex musical evolution. The NYC based SARMAT with its debut titled DETERMINED TO STRIKE is the primo example of this case by delivering a stylistic approach where the worlds of old school death metal, 21st century technical death metal, progressive rock and jazz all get together for a wild and raucous time joining the ranks of other proggy jazz-metal acts like Imperial Triumphant, CKRAFT, Neptunian Maximalism and The Odious just to name a few modern bands.

Brought to us by I, Voidhanger Records, a label that has been the cutting edge of bold experimental metal propelling the genre into the next phases of mind f.u.ckery, SARMAT provides that unique crossroads where extreme metal, prog and jazz intersect seamlessly as if a new species has become a genetically distinct entity from its ancestry. DETERMINED TO STRIKE is a rather short affair by modern standards just squeaking past the 35-minute mark and in many ways harkens (drums), Cotter Champlain (guitar), Andrew Gonzalez (vocals), Oleg Zalman (guitar) and Rajan Davis (bass). In its 2023 debut year, SARMAT released not only this full-length but also an EP titled “Dubious Disk” which features a mere 17 1/2 minute title track.

“Formed From Filth” wastes no time displaying the technical virtuosity with dueling guitar wankery that reminds me of bit of Necrophagist albeit without the depths of hell darkness aabrutality. SARMAT has a more even-keeled approach to dishing out its doses of death metal aggression. The album is chock full of non-metal segments such as the creepy piano roll that ushers in “Landform” as well as several trumpet appearances on no less than four tracks not to mention a soprano sax on “Determined to Strike (Dead Hand Cycle Part 1).” Generally speaking the trumpet provides a frenetic John Zorn inspired loose cannon soloing style while the guitars, bass and drum provide a chugging metal backdrop.

Despite the presence of a couple brass instruments, SARMAT loses none of the death metal ferocity and adds the jazz instrumentation in a way that actually complements the thundering roar and devilish din that keeps the world of death metal firmly in the depths of a hellish gutter which has made it so appealing since the 1980s. While the term jazz-metal is only getting started, SARMAT beckons the question of the fact that perhaps a term called brass metal is in the future and a period of such bands will be the modern interpretation of the brass rock scene of the late 60s and early 70s. Whatever the case i have to say that SARMAT does this stylistic approach justice without feeling cheesy for even a second.

Overall i love this debut! It’s the kind of wacky unorthodox metal that suits me best, the type that is not afraid to venture into bizarre new arenas and making sure it actually sounds good. In many ways this sounds like a fiery no holds barred debut from a bunch of adrenalized youth with incessant death metal brutality punctuated only by short intros and occasional moments of reflection. Otherwise this is a heavy death metal extravaganza that happened to invite a couple jazz musicians over to the party for good measure! Despite the incessant tempos the band still finds some key moments to unleash some quieter avant-prog fueled jazz-rock but the trajectory is full steam ahead for the most part which makes this a captivating debut. This is yet another band i look forward to hearing more from. You go, I, Voidhanger Records!