Sadistik is a 35 year old MC from Seattle, Washington who broke out in the spring of 2008 off his full-length debut The Balancing Act. However, it wasn’t until Flowers for My Father & more specifically Ultraviolet where I started listening to him regularly. Altars was ok & Haunted Gardens was slightly better but once I saw that the criminally underrated Kno of the CunninLynguists was producing Sadistik’s 6th album from front to back, I had very high expectations going into it.
“Burning Suns” is a summery boom bap opener talking about bringing him back when the world’s cured whereas “You Don’t Know” goes into atmospheric territory talking about where darkness forms. “The Earth Was Empty” takes a meditative route talking about being as empty as the planet is just before “Ghostly Key” works in a gorgeous sample talking about only seeing the negative.
Meanwhile on “Apple Valley”, we have Sadistik on top of a hypnotic flip looking back on his childhood leading into the soulful “Carnelian” making references to the man who died for our sins. Natti tags along for “Mothlight” to talk about life being too pretty to be depressed with a stellar sample for the hook “Neptune Skin” is a complete 180° somberly tackling spontaneous combustion, but then “27 Club” admits that all his heroes died at 27 over a spacey boom bap beat.
“Disappear” throws in a slowed down vocal sample to talk about being in outer space while “Where You Want Me” marks a return of the boom bap if you will talking about his woman having him where she wants him. “Rainclouds, Pt. I” with Lucy Camp finds the 2 on top of a electronic instrumental saying that rain outside isn’t unusual with “Pt. II” comes through with a glossy switch-up talking about being nocturnal.
Following that, “Blue Tree Meadow” has a chilling vocal sample addressing suicide while “Mulholland Drive” has a peppier tone talking about driving down the titular Los Angeles street. The song “Quietus” confessing his deathly instincts while the penultimate track “Godmode” delivers a spacey ballad about being a God himself. “Serpens (Trial of Lucifer)” ends the album with a cinematic declaration that he’s the bringer of the light.
If you’re a fan of both these guys, then you’re doing yourself a disservice not bumping Bring Me Back When the World’s Cured because I happen to look at it as Sadistik’s best work since Ultraviolet. Kno’s production is a lot more consistent than it’s been on the last 2 albums & Sadistik continues to show his scars through his pen.