Out for Blood

That’s why Darren Travis and his small ensemble had to give it one more shot. Cause the album reviewed here is by no means a full-on nod to the classic metal resurrection campaign, which was in full swing at the time, thus frustrating a large portion of the fanbase who were expecting exactly that. Not only have the guys been a very irregular presence on the field, but they also have the temerity to dissipate the monolithic old school wall that’s been built meticulously by the other, both old and new, practitioners… unforgivable, even for a legendary act like Sadus.

Travis is an interesting figure; he simply refuses to work with other musicians but Jon Allen and Steve DiGiorgio, not caring much that half his life has passed in waiting for the latter to free himself from his engagements with half the metal constellation, and pull the fat strings on the next episodic Sadus release. Travis by all means has other obligations to society except running his musical passion, I guess, but once upon a time things looked so promising, and it seemed as though the Sadus team would be able to leave the underground… easily.

Well, that never happened, but the guys’ cult status has long since been ensured, and the album reviewed here, depending on the taste of course, adds up to it. Cause Travis and Co. by default can’t possibly produce anything that truly sucks, and fans of the preceding “angry” instalment should have few problems absorbing this opus here.

I have to admit that I wasn’t extremely delighted the first time I listened to the album as I didn’t know how to place it, not within the relevant retro metal context at the time anyway… but it’s a Sadus release, for crying out loud, you can’t throw it on the shelf after just one or two listens; you have to stay with it until the customary flashes of genius become more audible... cause they’re definitely there, and “In the Name of…” is already the stylish opener one could expect from the guys, DiGiorgio’s vociferous bass walking hand in hand with Travis’ frenetic riffs the latter’s hysterical, plain screechy at times, vocal contribution a debatable asset all over; the band thrash hard with renovated vigour although the modern vibe is quite tangible, and it’s clear that this isn’t going to be a retro metal showdown… and it’s not with “No More” inserting electronic samples into its monolithic groovy façade, also receiving big support in this department from “Smackdown”, a sleazy Helmet/Biohazard-esque digression which can be a fair pullback even for the most fanatic Sadus followers...

the title-track has to do something to save the situation, and it doesn’t disappoint with its dynamic technical riff-patterns which even bring to mind the band’s feats from the early-90’s, an impetuous shredder with numerous tempo changes and a heavy pounding epitaph. “Lose it All” doesn’t exactly lose it all, but the creepy industrial undercurrents and the resumed interest in the groove don’t exactly make it the fans’ favourite despite the few more interesting melodic embellishments. “Sick” is a short brisk thrasher, a wild exhausting ride that brings the classic sound back in the game, but there won’t be two in a row here as “Down” is the next in line jumpy groover, more dramatic than the rest, but forgettable and patchy nonetheless. “Freedom”, which is dedicated to Chuck Schuldiner (R.I.P.), is expectedly a more serious progressive opus, and the intriguing melodic Oriental hooks and the more inspired fretwork, not to mention the exemplary bass pirouettes, make it listenable if not an instant classic. “Freak” is an excellent brief technical headbanging showdown, a somewhat chaotic, but attractive piece before “Cursed” takes over, the other complex behemoth, a diverse composition with several delights for the fans like the brilliant overlapping riff salads in the middle, the swirling fast-paced crescendos applied regularly, and the alluring melodic passages. The undisputable highlight on this uneven, flippant opus which is finalized by “Crazy”, a passable blend of thick grooves and a few dramatic technical accumulations, not the most distinct finale in the band’s career, but kind of deserving having in mind the dominant modern tone here.

Yeah, another tribute to the angry 90’s has just finished… in the midst of the classic metal heat renaissance. Not exactly an act of heresy, but hardly the most reverential one again having in mind the signatures underneath it. Nostalgia towards the band’s roots mixed with their still prevalent passion for the 90’s music vogues… again, taken merely as a follow-up to its predecessor, this effort should please on all counts as it’s a logical continuation of those angry, groovy undercurrents. However, one can’t help but be perennially mystified as to why the band have remained stuck in the past decade, limiting their creativity and imagination within these not very demanding, groovy confines. Like a single, isolated nod to those trends wasn’t enough…

Well, one can’t blame musical visionaries for their musical predilections, not these three ones in particular anyway, and this last so far instalment in the band’s discography is a decent, albeit flawed and uneven, ode to all things modern and classic (more modern than classic) in our favourite thrash that can even be considered an antidote of some sorts to the experienced at present influx of classic metal advocates. Defiance is always a potential choice when a trend gets formed so why not Sadus choose it and stick out of the crowd? Hoping at the same time that whatever anger there was still left had finally been exorcised from the band’s camp…

Travis is back on the road, and reportedly his two loyal comrades will join him for the ride once again... as soon as they're done with whatever else they're working on at the moment, though; there should be no rush when it comes to the fleshing out of another chapter from the Sadus saga. Angry or peaceful, classic or modern, it’s going to be a thrilling ride all the same so make sure you book a seat on the front row from now.