Sadus
Elements Of Anger

A truly remarkable album.
Pleasantly unique, this latest work by those half hippies, half thrashers who were so beloved by Chuck Schuldiner in the Eighties when they praised "Death To Posers". It perhaps represents the third, lesser-known offspring of Chuck's music, the third fragment, the one that perhaps went the furthest, detaching from the great collision of genres and musicians that was Schuldiner's Human in 1991.
After an album like Human, Progressive Metal, which was revealed to the masses during this period, inevitably branched out and took different paths: Masvidal and Reinert took their fast and "cynical" Death, embraced Fusion and two years later released the immense "Focus", Schuldiner continued to evolve his Death while also returning to his roots by mixing Prog Death with his beloved Heavy, producing the memorable and absolutely original first and so far only album by Control Denied... DiGiorgio, on the other hand, seemed at first to be an exception to this perfect rule of musical enrichment; the release of "A Vision Of Misery" with Sadus in 1993 did not represent a great innovation; this, as much as it is beautiful (and it is), is an album in which nothing more than Schuldiner's work appears, adding little more to the unchanged genre of the Slayer-esque Sadus, creating, among other things, a certain shrill disharmony.

Personally, I had lost hope that Sadus would produce something original and equally innovative compared to the Human colleagues when I heard this "Elements Of Anger" described as "overall worse than the previous one", but since all the albums that are currently my favorites were initially recommended against, I took the pleasure of listening to it.
I now write fresh from shock, but I think that no album presented to me as "metal" has ever surprised me so much. I've finally found Metal that doesn't use jazz as an excuse to define itself as Progressive, that doesn't flaunt the usual odd time signatures and dissonant chords just for the sake of it, but rather uses them in a mocking way, as in the introduction of "Power Of One"; that doesn’t aim to shock with "shock tracks" and above all does not present itself as a "fusion between this and that genre".
And by this, I don't mean there are no contaminations and that it is an absolute innovation; indeed, if one wanted to search, one would find a lot of Electronic, Ambient, hear Nu Metal, Industrial, and even Californian Thrash like Metallica together with Texan Thrash like Pantera, and why not, the much-abused Jazz; but it is precisely because there is so much variety that it can be considered a totally original work, the multitude of genres is simply a reflection of the richness of the musicians and no longer a contamination that is announced, planned, sought.

This album does not seek innovation, but finds it in its sincerity.