BIO:
Before rock and roll was cool again, before beards were the new uniform for "underground" bands, and before Justin Timberlake was "bringing sexy back", four musicians from quiet little Lancaster Pennsylvania were writing songs that fused their myriad influences with the straightforward energy of good old-fashioned rock and roll and imploring puzzled audiences nationwide to "get sexy".

7 years, 400 shows, and over a dozen tours into their existence, SADAHARU has shown no sign of either slowing down or stagnating. Rather the band is back with Resist. Revolt. Reclaim., a tumultuous musical romp that decimates genre boundaries, and is easily their most complex and intriguing effort to date.

Sonically, the band retains the elements that they have always utilized - the frantic riffing guitars, the pulsating rhythm section and the urgent vocals, but build upon them better than ever before, creating a sound that is familiar and yet obtuse. One will certainly find elements not uncommon in the music of the band’s contemporaries, but rather than making these elements cornerstones as others might, SADAHARU touch upon them as tangents, with the end result being something else entirely. One is immediately struck by the notion that it is impossible to discern if these songs are off-kilter post-everything rock songs disguised as pop-songs, or if it’s the other way around. Imagine MASTODON covering BLOC PARTY, QUEENS OF THE STONE AGE covering TV ON THE RADIO, or THE MURDER CITY DEVILS covering MC5, and you may be in the right ballpark.

“This time out, we took at least twice as long to make the recording as we have with anything in the past,” explains drummer Angelo Madrigale. “With how many millions of bands there are around right now, we figured if we wanted to make something that would be noticed, we should take a sizeable chunk of time and make something that we felt was not only our definitive record, but was something that really made a statement."

And make a statement it does. From the opening of the album (a sample of charismatic Black Panther Party leader Fred Hampton declaring that “You can jail a revolutionary… but you can’t jail a revolution”), it is obvious that the listener is in for a wild ride. Over ten tracks of categorization-defying rock and roll cacophony, SADAHARU espouses pro-proletariat leanings, lambasting the current state of affairs in the world, and chastising those who are too ignorant or too content to care.

“I have a point of contention with just how content you are,” yells vocalist Jeff Breil with indignation in ‘A Treatise on the Bankrupt Nature of the Current Zeitgeist’, a chiding meant more to open one’s eyes than to assert any level of self-righteousness by the accuser.

The band’s previous full-length, The Politics of Dancing championed the notion of ‘Revolution through Evolution” (essentially bettering one’s self for the benefit of others) over top of a soundtrack that paired frantic riffs and mixed time-signatures with stripped-down garage rock, decorating the danceable, bouncy rhythms with tambourines and hand claps, creating a recording that was on one hand driving and aggressive, and on the other hand danceable and groove oriented.

The final result was a highly praised album that caused Alternative Press to name SADAHARU “One of the 100 bands you need to know in 2005”. CMJ exclaimed that “SADAHARU infuse their own jazz-tinged style into remarkably hip-shaking, high-energy gems.” Revolver declared “SADAHARU’s punk-jazz-metal fusion shakes out in unexpected jolts, giving the record a ferocious edge”.

Like Politics, the new album, while highly politically motivated, is careful not to push any particular political agenda. “To me, it’s a matter of awareness,” explains Breil. “The point of the album is ‘Open up your eyes and look at what our lives have become!’, which is not a dissimilar notion from what we have implored people to do in the past. Its not about ‘Do this’ or ‘Don’t do this’, but rather ‘Think about the consequences of your actions.’ Revolution exists not only in the form of uprising, but in the form of non-participation”

Non-participation is a theme central to the album, especially so on a track like ‘Selective Memory and a Dishonest Doctrine’, whose double entendre lyrics refer just as much to a certain conflict in a certain part of the world as they do to the materialistic nature of people in general.

Breil chides that “We are throwing away our lives for the notion of livelihood,” which may just be one of, if not the most, simply stated, yet most thought-provoking points of the album.

It is that simply-stated-yet-thought-provoking pattern, both musically and lyrically, that nimbly walks the fine line between inviting and offputting, with the end result being an album that is strikingly complex, yet immediately accessible, all the while pumping the sounds of revolution through your stereo speakers.