Oh, hell yeah! This is very sick, very intimidating and ridiculously brutal death from those crazy kids at Willowtip. The barbarity of the guitar tone these guys got for this record is so over-the-top in its hugeness and power that it almost gives the band a borderline gore grind/death feel, as it reminds me of some of the huge and unforgiving guitar tones of that style. But Sadis Euphoria are a hell of a lot more than your average cartoon death metal band. Instead of splattering their album with pictures of dead bodies and lyrics of ultra-violent behavior fantasies, they prefer to somewhat fool the inexperienced listener with stark and striking imagery, morbid as hell in its simplicity. Rusted nails with white roses? Who would expect to see that within the sleeve of, say, the next Flesh Grind LP? Now on to the music: the frantic, one-stringed speed break riffs will slice open your head like a watermelon, while the finger-gnarled scorch chugging, hair-raising pitch bending and demonic vocals spews and howls creep into your mind and tear everything inside apart. The material reminds me of a lot of early Carcass and Cannibal Corpse in all its destructive, macabre beauty, though there are distinct differences between them and their influences. For example, the album's opener, "Examine" opens with a dry, trance-like clean guitar line before erupting into all out violence. The band make usage of this subtlety meets extreme violence and heaviness tactic throughout the record, on songs such as "Beneath the Rose", and the head turning "Portrait." This usage of polar opposites is a great dynamic for a death metal band of this caliber to have, and reminds me of their fellow Willowtip labelmates, groundbreaking chaos mongers Creation Is Crucifixion. The drums are tasteful in their primitiveness, but are not so simple and derivative that you yawn and try to focus on everything else instead, which may be the case for some with bands like Cannibal Corpse. Intricate cymbal runs here and there sprinkle the album, while the method of just adding even more power to the carnivorous riffage and vocals with jackhammer blasts and thudding double bass. Speaking of bass, if you listen closely, the way the bass follows the rest of the band is interesting for a death metal group, as the methods used seem to follow the guitars, but contrast them now and then with almost jazzy, Dillinger-esque unpredictability. The advertisement doesn't lie: this is one of the heaviest releases you'll hear all year.