Label: MG Records - MG 2140 • Format: Cassette Album, Unofficial Release • Country: Poland • Genre: Rock • Style: Thrash, Death Metal
Best viewed without Internet Explorer, in x resolution or higher. Needless to add, I was very pleasantly surprised by what I heard. DiGiorgio and Co. It was a cycle closed for the band as there was literally nowhere next to conquer after it. The modern trends had taken their toll, but there was nothing even close to annoying groovy banality as the band had found the right way again to entertain the masses by sounding both relevant and loyal to their roots.
Alas, there was no immediate follow-up as the Sadus team packed it up for a second time. It's a rare exception when an album refuses to be a product of its time, and while Sadus' 3rd Sadus - A Vision Of Misery "A Vision Of Misery" is quite an enthralling affair, it is not quite something that can be labeled unique, in contrast to their riveting debut and sophomore efforts.
Some might attribute to a general trend in death metal away from its high speed thrash roots thrash metal itself was being stripped of such influences in even more rapid successionor more specifically to Steve DiGiorgio's stint with Death on "Human", but the move away from traditional Slayer influences as typified in Death's progression from "Scream Bloody Gore" to "Individual Thought Patterns" is on similar display with this album with respect to past offerings, though perhaps not quite as Sadus - A Vision Of Misery removed as the former.
To put it bluntly, this album literally sounds like "Human" would have sounded had Sadus recorded it in instead of Schuldiner and his Sadus - A Vision Of Misery . Similar displays of rapid, technical riffing over a slightly more restrained tempo with shorter, controlled bursts of mayhem are the order of the day, complete with the obligatory time meter switches that any John Petrucci fanatic is sure to Sadus - A Vision Of Misery up.
Take for example the instrumental breaks on "Machines" which rather unscrupulously mirror the mechanical sounding guitar harmonies heard throughout "Human", more particularly on the Sci-Fi inspired closing Sadus - A Vision Of Misery "Cosmic Sea" and "Vacant Planets", and contrast primarily through a greater amount of bass gymnastics to complement the predictable cacophony of lead guitar passages.
Vocalist Darren Travis also does a fairly decent job of avoiding sounding too much like Schuldiner and keeps his voice on the upper range of the shouting spectrum, sounding more maniacal and berserk than guttural and Другая - Аквариум - Притчи Графа Диффузора. There is definitely a healthy assortment of high octane brilliance to remind of the largely passed glory of the Bay Area scene of years past.
Several key passages of "Through The Eyes Of Greed" and "Slaves To Misery" really play up the chaotic factor, though doing so in a much more rhythmically asymmetrical fashion than the typical fit of Slayer worship.
Yet at the same Sadus - A Vision Of Misery the sheer amount of riff activity and systematic avoidance of outright repetition a common feature of technical bands of any stripe makes a lot of the shorter songs seem much longer than they actually are. Ironically the lone exceptions to the rule of Sadus - A Vision Of Misery contrast are the long songs in "Facelift" and "Echoes Of Forever", both of which take time to play up creepy quiet sections either at their offset or closing that again seem to be drawing influence from the more atmospheric side of "Human".
By the same token, it definitely shares in the basic trend of death metal with a lot of tinkering around the edges, though not quite crossing into the realm of outright bizarre experimentation after that of Cynic's "Focus". It lacks the raw nastiness of "Illusions Chemical Exposure " and the riff frenzied Bay Area-infused assault of "Swallowed In Black", but it retains a sufficient level of old style charm to keep the band's early era target audience in the loop.
To this day, Sadus remains one of the most underrated American thrash metal bands in history. However through the course of their career, they released a slew of pioneering and innovative albums that were far ahead of their time. Before reviewing the album, first i would like to speak about the progress of the band up to this point.
In a fashion very similar indeed to early metallica, and Death, Sadus, was becoming more complex, more sophisticated and more progressive with each album, although far more drastic in comparison to the other bands mentioned.
Starting out with a very raw sounding debut, that was anything but restrained, Sadus showed clear signs of improvement with their next album, Swallowed In Black. The band started to incorporate more technical riffs, and more complex time signatures into their music, without loosing any of their ferocity. With their well-known bass god Steve Digiorgio, Sadus stuck ツインテールは狙われている。 - 高梨康治* - TVアニメ「俺、ツインテールになります。」オリジナル・サウンドトラック from the pact, with thundering lead guitar-like fretless bass lines, and almost incomprehensible complexity, Sadus caught the attention of Chuck Shuldiner R.
Pwho later recruited Steve to record Death's Human album. Impressed by his performace, Chuck would use Steve once again. With the experience Steve gained from recording Sadus - A Vision Of Misery , with long-time Sadus supporter Chuck Schuldiner, and the rest of the Sadudes pursuing an even more complex direction than their previous album, Sadus - A Vision Of Misery was clear that their next album would be their most ambitious, most advanced, and arguably, their creative peak.
With a new since of inspiration and velocity and better equipment, Sadus entered the studio to record this monumental achievement for both Death, and Thrash metal. Compared to all of their previous works, their third album boasts the best production the band ever had, which only helps enhance the bands sound, and gave them a clarity that previous albums lacked. This is Cleary displayed in the blistering opener, through the eyes of greed, which obviously shows the use of better recording techniques and equipment, which allows the nearly flawless performance of the band to fully audible.
As I stated earlier, the maturity of the band is strikingly evident, as all of the compositions on the album show better musicianship, and more variety. Take for instance the first song, which starts out like a typical Sadus track, and then I Knew Id Want You - The Byrds - The Original Singles 1965-1967 Volume 1 down, into a chugging, ultra technical riff fest further enhanced with very prominent bass licks from Steve.
Gone is the reckless, "full speed ahead" style of illusions. Instead, the band focuses on being more elaborate. Every song is full of time changes, and stays away from conventional Sadus - A Vision Of Misery structures.
Songs like Valley Of Dry Bones, are among the most epic Death Metal songs ever recorded, with a ferocity that bands such as Morbid Angel could only attempt to match, and a intricacy and complexity that Megadeth could only dream of composing. What i like more is the bizarre sound effects used many of the albums songs, such as the "factory noise" in Machines.
Better still is the prog tendencies of each song, which keeps the music from being one-dimensional, and makes the music more interesting.
The band can go from extremely fast to slow and back again without warning, and at the drop of a hat. Every song should satisfy fans of every style, from straight forward brutality, to complex and technical.
A Vision of Misery displays the full range of Sadus's capabilities as a band. In addition, Sadus also seems to have matured lyrically as well, in a similar way to death. Instead of merely crushing the weak in your facebad acid trips illusionsand killing posers torturethe band focuses more on political and personal issues, picking of from where Swallowed in Black left off. Take for instance facelift, which speaks of the poverty and discrimination, and through the eyes of greed, which is self-explanatory.
Sadus were more about provoking thought, instead of rather immature displays of rage. As we all know hopefullySteve Boeing Spacearium - Attilio Mineo - Man In Space With Sounds is the man when it comes to the bass, and his performance on a vision of Sadus - A Vision Of Misery does not disappoint.
In fact, on this album, he is even more prevalent than before, and occasionally begins songs on the album with bass lines that become the basis for the entire song. He plays his bass as if it is a third guitar for the band, and on many occasions, it seems as if the band's two guitarist Darren Travis, and Rob Moore, are following Steve's lead. John Allen, the drummer of the band has also shown some clear improvement, with ever more complex drumming patterns and an increased use of double-bass.
Still he more Straight forward side is still present, in songs like Valley of Dry Bones, and Under The Knife, one of Im Afraid Of Americans - Bowie* - A Reality Tour (DVD) featuring two very intense blast-beats.
He proves that he can easily compete with drummers such as Gene Holgan, or Pete Sandoval. Darren Travis, also steps up quite a bit as a vocalist. On this album he recorded some of his most brutal vocals yet, while still being very listenable. Instead of his earlier high-pitched shrieking style, Darren starts to incorporate death growls, similar although more extreme to that of evil Chuck.
His ability to compose extremely technical guitar riffs is also displayed, with many of them sounding similar to Death, Pestilence, and Gorguts. Probably the best example of the is the closing riffs of Through the eyes of Greed, which is an amazing feat in it's own right. For the Second guitarist, Rob Moore, I believe this was his apex in writing solos. His style was very unique, and as ambitious as the album, with experimental sounding leads, and solos, such as the Egyptian sound solo on Machines.
In the period, which saw Half-Thrash, and groove metal albums, this was A Few Short Years - Ty Herndon - This Is Ty Herndon: Greatest Hits very unique and much needed addition to the now stagnating thrash scene, and far superior to most releases at the time.
Sadly, like all of Sadus - A Vision Of Misery work, it was Problems - Sex Pistols - Never Mind The Bollocks Heres The Sex Pistols far ahead of times, and underappreciated.
Sadus was responsible for some of the most technical and intricate compositions in metal, and this album displays them at the full potential, although I still prefer the youthful aggression of their previous works. The Spartan musicianship shown on this album proves why they were much more sophisticated, and more capable than many of their peers.
Although their influence has been shown in many technical death metal bands, including Death, Sadus remains largely undiscovered Aria (allegro-andante Molto) - Francesco Divito - In Turbato Mare Irato - Arie di Bravura Del Second many fans of both Death and Thrash metal. It is bands like this that were the true pioneers of thrash, and helped it evolve and transition into death metal.
Sadus is Sadus - A Vision Of Misery kind of band that never fails at amaze me. There are lots of reasons, like their techincal hability, the exciting nature of their music, the sheer catchiness that manages to keep the listener wondering "Damn, what's coming now"?
This is the border between their older style and the newer one, more midpaced and with more emphasis on techinique. The midpaced moments are more prevalent here than in "Chemical Exposure" or even "Swallowed in Black". Their hability to write some of the greatest riffs ever is intact. The riffs here are of two kinds: The slower, more complex riffs where their techinical side is shown.
These riffs are interesting for the most part, except where they seem to drag a bit for example, "Facelift" clocking at 7 minutes. The other variety is that one with the burning fast DM riffs, which are simpler but very effective at giving catchiness to the songs. For example, at of the fourth track.
This riff is as banal as "Outbreak of Evil" High Horse - King Just - Go N On Em extremely efficient.
Of course they know that a full display of complex riffs detracts from the entretaining value of the album, so they throw some great breaks, cool drumming patterns and fills and some nice solos.
The song structures are also pretty nice, staying ayaw from verse-chorus-verse. The musicians seem to understand each other very well, so it's not hard for them to write songs like "Slave to Misery" and "Through the Eyes of Greed". The instruments are all great togheter, although Steve's bass isn't nearly as prevalent as in the previous album.
But whenever he shows up, his talent is glaring. The drumming has mostly the same style of extremely fast snare-bass drum patterns, double-bass and some shot fills. Pretty damn good, if you ask me. There are much less blastbeats than "Chemical Exposure", if any.
It's maybe the last essential Sadus album. The next one, it's hard for me to say, is pretty boring. Go get this one now, no matter how hard is to find an out-of-print album. Metal Archives loading Username Password Login. Bands alphabetical country genre Labels alphabetical country Reviews R. Privacy Maria Ostiz - Maria Ostiz. Buy from A Vision of Misery Sadus.
Write your own review. DeathThrasher91September 7th, MiloJanuary 18th,
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