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SADUS Releases Music Video For 'Pain' From 'The Shadow Inside' Album

https://blabbermouth.net/news/sadus-releases-music-video-for-pain-from-the-shadow-inside-album

#SADUS #ReleasesMusicVideoFor #Pain #thrashmetal #album #newrelease #video #musicvideo #guitarist #vocalist #Blabbermouth #metal

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

Wisdom & Fools – Prophecy Review

By Dr. A.N. Grier

Liminal Dread Productions has been on a roll with releases in the past year. Some really took it home (Vanessa Funke), while others (Weep) didn’t quite hit the mark. Now, they are back with the debut record from LA’s newest thrash band, Wisdom & Fools. As far as I can gather, this two-person outfit was a collaboration between vocalist/guitarist Philip Vargas and bassist John Ramirez, who fronts the one-person progressive death outfit Parasite. The only thing missing is a drummer. So, they bought a computer and did some shit. Prophecy is a brief record that tries to push the boundaries of thrash, technical thrash, and death. The result is a riff machine with harmonizing guitar leads and vocals in the vein of Pantera and Throwdown. It’s an odd combination of elements that could be an absolute hit or a thrash fire behind Albertson’s. Either way, its thirty-six-minute construction should at least get you through your morning coffee shits.

My favorite part about the band’s inception was their first release, a 2020 collab with Parasite called St. Angry (A Loving Tribute to Metallica’s St. Anger). Yep, you read that correctly. These four cover songs include “Dirty Window” and “Sweet Amber,” which absolutely no one asked for, especially considering that I prefer the unfiltered vocals of Papa Het to those of Vargas. After a couple of singles and an EP, Prophecy finally arrives as the band’s official debut LP. With eight original tracks that don’t include St. Anger covers, Wisdom & Fools set out with their programmed drums to leave a mark on the Bay Area thrash scene. But will that mark be a notch on the Big 4 bludgeoning club or that skid mark I had to wash out of my speedo?

The first thing you notice from the opening number, “Escaping Eden,” is its guitar chops and the bass that pops and rumbles like old-school Sadus. But after charging along with one of the better thrash licks on the album, the vocals kinda diminish the mood. The song becomes garbled with all the riff and mood changes, even if the death textures and stomping riff on the back end are nice touches. One of the best tracks on the album is “The Devil in a House of God.” The screaming vocals and heavy riffs deliver the goods, alternating between thrash mixtures and interesting, swirling guitar leads. The song also includes melodic elements, ’80s metal flourishes, and a headbangable interlude that—for some demented reason of my own—resembles the entrance song to WWE’s Hardy Boyz.

After the album comes out attacking, the back half introduces more melodic elements in back-to-back pieces, “Thorns” and “Perpetualis.” While “Thorns” is riddled with some interesting, old-school soloing and harmonizing guitar action, the song’s foundation is completely forgettable. And, once again, the vocals don’t help to bring this track up to the melodeath caliber it should be. Sadly, “Perpetualis” is an identical song to its predecessor. Repeating the verse, pre-chorus, and chorus sections for most of the track, the only interesting part is the harmonizing leads toward the end. Thankfully, the closer brings some semblance of justice to the previous tracks. “Husk” is a marching thrasher that dabbles in death-thrash territories before unveiling its own melodic tendencies. But the lush textures of the song’s outro are not enough to save the lackluster songwriting of the two previous tracks.

Prophecy is an enigma. While the performances are undoubtedly great—especially those harmonizing leads and the gigantic bass presence—the songwriting is lacking. Balancing between being a standard thrash band and a technical one, Prophecy achieves too much and too little at the same time. There are a lot of riffs on this platter, but they tend to blend rather than add memorable weight to the overall song. As stated before, the vocals also do little to contribute, and I find myself ignoring them to focus on the guitar and bass. All that to say, there is definitely something here that, with some restraint, could be great. Of all the songs, “The Devil in a House of God” seems to know what it wants to do, but most of the album becomes predictable, as if the riffs are used to promote the impressive leads and soloing sections. I’m not quite ready to write this band off, but this ain’t the album I wanted.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: wisdomfools.bandcamp.com | facebook.com/wisdomandfools
Releases Worldwide: April 25th, 2025

#20 #2025 #AmericanMetal #Apr25 #LiminialDreadProductions #Metallica #Pantera #Parasite #Prophecy #Review #Reviews #Sadus #ThrashMetal #Throwdown #VanessaFunke #Weep #WisdomFools

SADUS – The Shadow Inside
https://eternal-terror.com/?p=66385

RELEASE YEAR: 2023

BAND URL: https://sadusofficial.bandcamp.com/

Before the universally regarded as one of the most brilliant bassists in heavy metal, Steven “you can hear my bass louder than any other instrument in the mix” Di Giorgio, appeared in Death’s seminal Human¹⁹⁹¹ (by many regarded as their magnum opus) he had begun in the Californian technical deathrash ensemble Sadus, […]

#california #mascotRecords #NuclearBlastRecords #RoadracerRecords #Sadus #SadusRecords #TechnicalThrashMetal #TheShadowInside #TheUnitedStates #thrashMetal

Gig Review: Obituary / Sadus – O2 Academy Oxford (3rd December 2024)

Ohhh what a great night! You know the best concerts are those which leave you thinking “This is what I live for!” It is a feeling that you might not have for quite a while but after all the excitement of the show, the adrenaline, the moshing and being completely lost

https://www.moshville.co.uk/reviews/gig-review/2024/12/gig-review-obituary-sadus-o2-academy-oxford-3rd-december-2024/

#GigReviews #Obituary #Sadus

Sadus part ways with drummer Jon Allen following disturbing abuse allegations:

#Sadus #JonAllen #News

https://metalinsider.net/news/sadus-part-ways-with-drummer-jon-allen-following-disturbing-abuse-allegations