ALBUM REVIEW: Overkill, "Scorched"

By: Richard Maw

Album Type: Full Length
Date Released: 14/04/2023
Label: Nuclear Blast

 
“Scorched” CD//DD//LP track listing:
 
1. Scorched
2. Goin’ Home
3. The Surgeon
4. Twist of the Wick
5. Wicked Place
6. Won’t be Comin Back
7. Fever
8. Harder They Fall
9. Know Her Name
10. Bag o’ Bones
 
 
The Review:  
 
Well, Overkill return after their longest ever break between albums- “Wings of War” was 2019! It’s only the pandemic that has led to this situation, and I suspect that the band would have put this out in 2021 or 2022 if they had been able to tour it.
 
First things first: Colin Richardson has produced and mixed this along with Chris Clancy. It sounds incredible. The bass is percussive and aggressive with D.D Verni taking his rightful place in the mix, the drums are crystal clear and have depth along with attack- Jason Bittner is perfect for the band. The guitars are similarly in-your-face and precise. I realise that Bobby G is most fans choice of favourite Overkill guitarist, but I love the Linsk/Tailer axis even more.  On top of all that, of course, is Bobby Blitz Ellsworth’s instantly identifiable shriek.
 
Of course, if identifiable sounds and elements made for classic albums then the Rolling Stones and Metallica would be on a never ending winning streak of incredible records… Fortunately, this time around Overkill have focused and delivered the songs along with the sounds. With hindsight, I found “Wings of War” a little over-long and a little directionless in parts. The good songs were great, the album tracks were a little more blunt than usual. “The Grinding Wheel” suffered from a mid-album bloat with too many long songs.
 
“Scorched” delivers only one song over the six-minute mark and it is a welcome approach. Indeed, with the title track being up first and the longest song on offer, the band immediately announce that they are BACK. It’s a cracking and thrashy opener. “While Goin’ Home” may be the most accessible song here, it’s not one of my favourites as I am here for thrash- as I am on every Overkill record. “The Surgeon” delivers handily as does “Twist of the Wick”.
 
The band have time for a detour or two as well, such as “Wicked Place”- that delivers the Sabbathian lope that the band have perfected over the years (see also “Spiritual Void” and “Come Heavy”). It’s cool that Overkill continue to be OVERKILL at all times. The song writing is sharp and the band is as hungry as ever. Dave Linsk delivers some mighty lead work throughout and for a bunch of guys who are mostly in their 60s, well, it’s incredible that they still sound like this and that they are still making music with this fire and quality.
 
It's not all flawless; there are a couple of Overkill-by-numbers tracks; “Won’t Be Comin’ Back” is fine, but no better than that and leans a little too hard on melody- it’s an average Overkill album track, redeemed partially by the solo section. The albums most left-field track is “Fever”. It is a slow burning, moody quasi-ballad. This is the type of Overkill song that I have never really cared for and don’t buy the albums for. I didn’t rate “Bitter Pill” on “White Devil Armory”, I don’t like “Shades of Grey” on “I Hear Black...” the list goes on. On the plus side, it has some unexpected percussion, quiet and loud dynamics and isn’t a bad song per se. It’s just not what I want from an Overkill track. I’d probably rather have a throwaway thrasher than a well-crafted moody song like this one. My loss, I suppose.
 
Fortunately, “Harder They Fall” redeems the band instantly with a straight ahead rager- fast and furious with plenty of machismo as is expected from the title. Simply put, it is this type of song I’m looking for from the band. Not that they owe me anything at all when they are 20 (!) albums deep into their 43-year career. The chugging riff of “Know Her Name” is also welcome and feels like an old friend. Indeed, between this and the (surprisingly funky and groovey) closing “Bag O’ Bones”, the band don’t put a foot wrong and finish the album in fine style.
 
Overkill began an incredible run of albums with “Ironbound” in 2010. For me, that one remains their peak (of any era) but “Electric Age” was almost as good. “White Devil Armory”, “The Grind Wheel” and “Wings of War” are all good records- with perhaps a tendency for the quality to drop just a little with each album in release date order. “Scorched” reverses that slight downward trend and brings them back up a notch.
 
Another year, another great Overkill album. Enjoy them while they are still here as sooner or later- much like Motorhead- they simply won’t be around anymore. This is recommended to all fans of the band, all thrash fans and is as fine a starting point as any for anyone who wonders what the band are all about.
 
“Scorched” is available now

Band info: Bandcamp || Facebook

ALBUM REVIEW: Overkill, "The Atlantic Years 1986 - 1994"

By: Richard Maw
 
Album Type: Boxset
Date Released: 03/12/2021
Label: BMG

The Review:
 
 
There are no less than six albums by Overkill collected in this lavish package. Vinyl, download or CD; the choice is yours... I've actually forked out for the vinyl release, but as it is not due for delivery until December these MP3 files serve as a nice taster of what I'm getting. These six albums represent the start of Overkill's career- and cover what many would assume to be the band's golden years through the peak of thrash metal and beyond. However, it does NOT include the Megaforce classic debut, “Feel The Fire”. That album is readily available in multiple re-issue vinyl versions, but it does feel like an opportunity missed... even if the title does specify their major label days only.
 
For fans and collectors, this box set is still a must. It has several vinyl re-presses which are very hard to get hold of; “Years of Decay”, “Horrorscope”, “I Hear Black” and “W.F.O.” The fact that many fans may own one or more of these and probably have some kind of copy of “Taking Over” and “Under The Influence” is neither here nor there, really. If you want the rest of the albums you are missing, then you buy the lot. It is also interesting to note that CD issues of “Taking Over” are like hens teeth- and expensive. So... there are pros for both the vinyl and CD sets.
 
I cannot comment on the presentation here; I only have the MP3s, but I HOPE that the vinyl reissues come with original sleeves in a box set; only time will tell. Of the music, well, it's no secret to regular readers of my reviews that I rate Overkill highly. Very highly. As in, I think they are the best thrash band EVER. At the least, they are certainly the most consistent and have had the most longevity. Their extensive and impressive catalogue knocks all other band's efforts into a neatly cocked hat. Yes, yes, Overkill may not have a “Reign In Blood” or a “Master of Puppets” to their name, but both those bands had less than a decade at the top of their game. Overkill have been consistently good (and even great) since 1985.
 
Of the albums, there is a great deal that can be said. “Taking Over” is a firm fan favourite, features ludicrous cover art (guns aimed at the camera, biceps bulging, lurid colours jumping out at you...) and a solid collection of songs; including a few Overkill classics. Strangely it is not one of my favourite albums of theirs. Yes, it has “Deny The Cross”, “Wrecking Crew”, “Fatal If Swallowed”, “Power Surge” and “In Union We Stand” but it doesn't quite reach the heights of the debut for me. It's a powerful thrash album from the genre's golden era, but it is not their best. The remastering here is good- it sounds a little clearer, a little sharper but it still, of course, sounds like an 80s thrash album done on not much of a budget.
 
“Under The Influence” has “Hell From The Gutter” and a consistent set of songs but for me is the weakest of their early albums. The production is a little weak, the drums a little too large and indistinct, the band a little subdued. It's like Overkill with the teeth and fangs filed down. From there, though, things REALLY take off.
 
“The Years of Decay”. “THE YEARS OF DECAY”. It's immense!! It had the production and the songs- the remaster makes it sound even more powerful. Terry Date produced and the sound is a dead ringer for his work, a year later, with Pantera. It's tight, muscular and clinical and it simply rips. The songs are superb. The first three tracks are simply metal perfection; “Time To Kill”, “Elimination”, “I Hate”. It's a hell of an opening. The record also contains a really doomy track- “Playing With Spiders/Skullkrusher”- that is immensely heavy and dark. You get
“Evil Never Dies” at the end as well... and the title track and so on. It's a metal classic and is widely regarded as one of the band's best. Its way underrated by those who don't know the band and it remains a high point of the golden thrash era.
“Evil Never Dies” at the end as well... and the title track and so on. It's a metal classic and is widely regarded as one of the band's best. Its way underrated by those who don't know the band and it remains a high point of the golden thrash era.
 
Incredibly, the band kept things going with 1990's “Horrorscope”. It's another classic and even if the original guitar player, Bobby Gustafson, parted ways with the band (fans still talk about this) Bobby Blitz Ellsworth and DD Verni simply recruited two guitar players to replace him and wrote a superb set of songs. Sid Falck plays his best drumming on this one. The whole album is great; clinical production (probably a little influenced by … “And Justice For All”, but with the bass left in) and a strong set of songs and overriding evil vibe make a winning combination. “Coma”, “Blood Money”, “Thanx For Nothing”, “Infectious...” all killers. Even the Edgar Winter cover (Frankenstein) rules. It's such a strong record and my favourite (even above, gasp, “Years of Decay”) of their earlier work.
 
The band thus entered the 1990s on a high and seemed to be on an unstoppable roll. However... grunge happened, the bottom fell out of the thrash market and Overkill found themselves frozen out of the Big Four and playing second fiddle to (kind of) new upstarts like Pantera. Metallica and then Megadeth simply went commercial. Testament pretty much went MIA after “Souls of Black”. Exodus were nowhere, Anthrax got buried under record company indifference. Overkill, incredibly, didn't go grunge but they did make their most leftfield album: “I Hear Black”.
 
It's the one oddity in their catalogue, but rest assured it is still metal to the core.... just with a little more Sabbath flavour. The band slowed down and introduced new drummer Tim Mallare to the fray. For me, it's one of their best albums. I've listened to it probably as much as any of their others. Some of the writing is a little undercooked- that's even admitted by the band- while the production and mix probably sounded INCREDIBLE on the studio speakers... it sounds tinny and underpowered on a regular stereo. The separation of instruments is great, the individual sounds are good, but the bass (on all instruments; guitars, drums and bass) weight is just not there. Even the remaster- which has improved it a little- can't save it. What it really needs is a full re-mix.
 
Strangely, this makes me love the album a little more; it's imperfect and the sound of a band trying to survive. “Dreaming In Colombian” is ace. The title track is heavy. “Spiritual Void” is a Sabbath style groove machine, “Weight of the World” is speedy and good quality and the album finishes strongly as well. I'm prepared to forgive misfires like “Shades of Grey” and “Undying” because the overall vibe of the albums is great. For me, “TYOD”, “Horrorscope” and “I Hear Black” represent three different aspects of the band's sound- with a common theme of dark and unsettling compositions at their core.
 
After that, only “W.F.O.” remains of their major label tenure. Again, it's quirkily produced; tinny and overly bassy (!) but it brings back the speed that “IHB” lacked. The opener “Where It Hurts” proves that thrash is back, “Fast Junkie” rams that point down your throat and from there the albums is absolutely solid. The songs are good and often really catchy. Inevitably, it sounds a little too influenced by what was big in metal at the time- in terms of production and the backing vocals- but it stands as a strong exclamation point to the band's years in the music biz big leagues.
 
I'd score all of these albums four stars or above (with the possible exception of “Under The Influence” which is a strong three for me) and a couple of them reach the full marks score level. With that being the case, why did Overkill not get much bigger?! Well, Blitz's voice is an acquired taste- shrieky and gravelly is an odd combination and it seems to me that they never got the press support that some other band's were gifted (or paid for). On the plus side, it meant that the band kept going as a relatively underground proposition with their integrity intact.
 
From here, the band weathered the turbulent mid 90s by simply going independent; indie labels, booking their own tours and keeping going. It's that blue collar work ethic that endears them to so many of their fans- me included. They'd go on to make even better albums (“IRONBOUND”!!!) and worse ones (“ReliXIV”, “Necroshine”) but they have never slipped below that three star standard. As an average, the band are running at four stars and these six albums represent a rock-solid chunk of their discography. I implore you, if you've never bothered, to check out all six records or at the very least “Years of Decay” and “Horrorscope”. This is superlative metal and utterly essential.

Band info: facebook

ALBUM REVIEW: Overkill, "The Wings of War"

By: Richard Maw

Album Type: Full Length

Date Released: 22/02/2019

Label: Nuclear Blast 

Overkill have never made a bad album and with “The Wings of War” they have made another good one. I expected nothing less and once again Overkill have delivered

“The Wings of War” CD//DD//LP track listing:

1. Last Man Standing 5:49

2. Believe In The Fight 5:03

3. Head Of A Pin 5:56

4. Bat Shit Crazy 4:33

5. Distortion 6:09

6. A Mother's Prayer 3:58

7. Welcome To The Garden State 4:42

8. Where Few Dare To Walk 5:25

9. Out On The Road-Kill 4:41

10. Hole In My Soul 4:47

The Review:

Overkill roar back into action two years after “The Grinding Wheel”. I reviewed that beast at the time and judged it to be a continuation of their superb run of form since 2010's “Ironbound”. “The Grinding Wheel” was somewhat meandering in song structure and perhaps dipped just a little before the middle of the record in terms of energy and catchiness.

“The Wings of War” sees the band with a new drummer- Jason Bittner of Shadows Fall fame- who was expected by many to bring the band a new enthusiasm and perhaps some musical changes. Ron Lipnicki was the best drummer Overkill had up until his departure and his contributions in terms of energy and bringing the real thrash back cannot be overstated. It was Lipnicki, in my view, who played on the band's very best records and his precise and wildly energetic style was a major plus point from “Immortalis” onwards.

Bittner brings similar energy and plays a blinder here- lots of fills where the kick drums reinforce the stick patterns and lots of fills where the hands and feet answer each other. Bittner is the state of the art in terms of thrash drumming and the band could not have found a better replacement.

Regarding the rest of the record, Overkill have continued to keep their output quality astonishingly high. The first four tracks are absolute rippers. The opener “Last Man Standing” builds via a machine like intro to a classic Overkill thrasher, “Believe In The Fight” is more varied in tempos but similarly aggressive. “Head of a Pin” starts slower but introduces a familiarly swinging time feel that Overkill excel at when they use it. “Bat Shit Crazy” is a heavy and catchy beast and made for the live arena. So far, business as usual.

If “The Wings of War” differs from recent records it is in song length- only one track exceeds six minutes and most are concisely under five minutes. “Distortion”, the longest track is also one that I have not taken to yet; it is slower, meaner, moodier... nothing wrong with that as I love Overkill's 'different' albums such as “I Hear Black”- which was a Sabbath influenced murky metal record. However, the long intro leads to... another intro before the track starts its insistent mid tempo groove. To be fair, “Distortion” is not a bad track but it does break up the momentum of the previous 40% of the album. It has a killer ending, but the hooks here just don't do it for me. The distorted bass that heralds “A Mother's Prayer” is  a much needed wake up call, but again the track does not thrash as hard as the opening four tracks. It's still thrash, but with a hefty dose of traditional heavy metal in there as well.

The comparative energy dip of the preceding two tracks is consigned neatly to the past when “Welcome To The Garden State” kicks off after a textbook “Noo Joisey” sample. Overkill excels at this type of thrash/punk hybrid when they choose to write them. It leaps out of the speakers and really kicks off the latter half of the record. Encompassing as it does the band's pride in their home state and their fuck-you-too attitude it promises to be a big live staple and a fan favourite at home and abroad. A killer that doesn't take itself too seriously.

The final three tracks keep the quality high and the material varied. This is not a straightforward thrash album like, say, “Electric Age” and instead mixes the band's thrash, groove and Sabbath influenced material to good effect. “Where Few Dare To Walk” is a good example of a slower Overkill power house. It's moody and dark and it WORKS. The track is more heavy metal than thrash and those seeking an adrenaline hit are pointed to the album opener, but this is quality metal.

The band go for the throat on “Out On The Road-Kill” and turn in a song that would have fitted neatly on 90's crusher “From The Underground and Below”. It grooves and hammers its point home with thrash and finesse- not to mention a killer solo.

The album closes strongly with “Hole In My Soul” which features a kind of smorgasbord of the album as a whole- it has a moody intro, thrash tempos, a fair amount of melody in the vocals and superb individual performances from all band members. Bittner's drums are mechanically precise and superbly produced. The triggered sound of previous records is present here and if you listen to early thrash albums these days, you can hear just how much extreme metal has benefited from technological advancements in recording. Verni's bass is as crushing as ever while the guitar duo of Linsk and Tailer is rock solid as per. Bobby Blitz Ellsworth continues to defy age and gravity with his soaring screams and is the major recognisable factor in Overkill's sound.

Overall, then, “The Wings of War” represents a continuation of the run of form that Overkill have held for the last decade while also ringing the changes in terms of variety of material. This is a more melodic and slightly more restrained work than the previous four albums. In my view, it is as strong as “The Grinding Wheel” but does not quite reach the godly heights of “Ironbound”, “Electric Age” or “White Devil Armory”. For a band going since 1980 (!) whose frontman is pushing 60 years old, the energy levels on display here are incredible. Overkill have never made a bad album and with “The Wings of War” they have made another good one. I expected nothing less and once again Overkill have delivered

“The Wings of War” is available HERE

Band info: official || facebook

ALBUM REVIEW: Overkill, “Live in Overhausen”

By: Richard Maw

Album Type: Full Length

Date Released: 18/05/2018

Label: Nuclear Blast

Overkill are now fully established as the Motorhead of thrash:  a lean mean killing machine that defies age and just keeps on delivering the goods while upping the ante each time.

“Live in Overhausen” 2CD//DVD//DD//2LP track listing:

1. Coma

2. Infectious  

3. Blood Money

4. Thanx For Nothin'

5. Bare Bones

6. Horrorscope

7. New Machine

8. Frankenstein

9. Live Young Die Free

10. Nice Day - for a Funeral

11. Soulitude

12. Raise The Dead

13. Rotten To The Core

14. There's No Tomorrow

15. Second Son

16. Hammerhead

17. Feel The Fire

18. Blood and Iron

19. Kill at Command

20. Overkill

21. Fuck You

The Review:

Overkill return with a double live album after last year's excellent studio effort, “The Grinding Wheel”. Instead of a career spanning greatest hits set, or even a compendium of track's from their last four stellar albums the band have gone for something a little different. Indeed, New Jersey’s finest have opted to re-visit their “Horrorscope” and “Feel The Fire” albums. In full. In track list order. Oddly, the set starts with the chronologically later album, “Horrorscope”.

So, you get 21 tracks over either two CDs (plus DVD or Blu Ray) OR you can fork out for two double LP sets; one for each album. I have opted for the CD and DVD this time around as I simply can't justify buying that and two double LP sets- that really is a big ask, even for a dedicated fan.

This review only focuses on the audio part of the release: it is superb. In fact, this is easily the best Overkill live album. “Wrecking Your Neck” suffered a little from a flat sound, whilst “Wrecking Everything” was an improvement, it still did not capture the full intensity of the band. This time around the band has nailed it. This is one intense performance with the band firing on all cylinders and ably assisted by guest drummer Eddie Garcia of Pissing Razors.

I saw one of the shows on this tour and the band were on fine form, and clearly building up to this performance in Germany. The sound is excellent; full and clear with 1500 German maniacs ably assisting the band by rowdily cheering along and chanting the band's name between songs. The material form “Horrorscope” sounds fantastic with the beefed up modern production and the songs shine. The band retained their punk-ish edge even through the more complex and dark material on offer here and it is still regarded as one of their best, over a quarter of a century later.

The real draw for me, though, is the performance of the “Feel The Fire” album. It stands shoulder to shoulder with “Kill Em All”, “Shown No Mercy”, “Fistful of Metal”, “Bonded By Blood”, “The Legacy” and “Killing is My Business...” for me- and I prefer it to nearly all the records on that list! Overkill's debut was and is a thing of marauding beauty- matching Maiden-esque guitar runs with thrash speed and punk like aggression. To hear the band sounding so vital and revved up on this thirty-something year old material is a treat. “Rotten To The Core” is superb, the extended middle section of the title track (Higher... Higher... Feel The Fire!!!) is as dramatic as it is spine tingling. Metal perfection! The run of great tracks on the album is astonishing; “Hammerhead”, “Blood and Iron”, “Kill at Command...” thrash metal does not get any better.

The CD/DVD is actually pretty good value- you get two full albums live and a DVD for your money: not bad! As stated before, forking out for both vinyl sets is pretty steep, but if you love one album and are not too bothered about the other, you can choose. I'll pick up the “Feel The Fire” set when I have the cash. Ah, who am I kidding, I'll get the “Horrorscope” one as well!

Overkill are now fully established as the Motorhead of thrash:  a lean mean killing machine that defies age and just keeps on delivering the goods while upping the ante each time. Compare their recent output to any of the other big thrash names. Overkill are streets ahead in intensity, hunger, material and work ethic. This expansive live release may well test your wallet, but the band passes the thrash exam with flying colours.

“Live in Overhausen” is available here

Band info: facebook

ALBUM REVIEW: Testament - "Live At The Fillmore", "Demonic", "The Gathering", "First Strike Still Deadly", "Live At Endhoven '87" (Reissues)

By: Richard Maw

Album Type: Reissue

Date Released: 26/01/2018

Label: Nuclear Blast

When at their best, as on “The Gathering”, there are few thrash bands who are their equal.

"Live At The Fillmore" (1995), "Demonic" (1997), "The Gathering" (1999) (remastered by Andy Sneap) "First Strike Still Deadly" (2001), “Live At Eindhoven '87" (2009)

The Review:

Testament's career is generally viewed as being a little behind the pace of the Big Four, but not by too much. Cursed with a late start via their debut of “The Legacy”, they followed it up impressively with “The New Order”, got a little more catchy on “Practice What You Preach” and then... lost their way a little chasing Metallica and then Pantera's coat tails. The records they released in the first half of the 90's were thus a mixed bag- great moments, weaker moments, thrash, no thrash and so on.

These welcome reissues, then, remind us of what a potent force Testament returned as via a shot of more extreme metal and an iron will. These reissues cover a couple of live albums- from 1987 and 1995 and then their studio output from 1997 into the new millennium. Let's be clear, Testament at their lowest ebb were still one of the best metal bands around, and so if “Live at The Fillmore” catches them on tour after the release of the album “Low”, it cherry picks the best tracks from their career to that time. It's a solid and punchy listen- if maybe lacking the “lightning in a bottle” x-factor that, say, “No Sleep Til Hammersmith” has. It works as a fine live best of- most of the best album tracks are represented. 1987's “Live at Eindhoven” catches the band at the very start of their international career and the performances are rough, ready, energetic and fiery. Both releases are really for fans only. For me John Dette being on drums makes “Live at The Fillmore” superior for me. He is one of the very best drummers in thrash. He played with Anthrax, filling in for the equally majestic Charlie Benante and he absolutely blew Paul Bostaph away- who must have been having an off night!

1997's “Demonic” is a superb and surprisingly extreme listen. Chuck Billy introduced some very extreme elements to his vocals to excellent effect and the overall impression is of a band revitalised and out-heavying the competition (Metallica and Megadeth were at career low points musically at this point, Anthrax were effectively inactive and Slayer were coming off the back of their worst studio album). Eric Peterson was firmly at the helm as usual, with Chuck ably upping his game and the mighty Gene Hoglan stepping in on drums. While Alex Skolnick was not present, Greg Alvelais proved a worthy replacement with Greg Ramirez rounding out the studio line up. The death metal influence is strong and the record finds the band doing what they want to do- trends be damned. Great performances all around and impressive writing; what a great come-back record! It also sounds great- tight and clear with lots of weight to the production.

However, with “The Gathering” in 1999, the band hit an all time high. Dave Lombardo delivers a masterclass in thrash metal drumming (thanks Aaron!) and all the material is top notch. From the massive opener “DNR” to “Hammer of The Gods”, this is a thrash tour de force from a time when no-one was releasing such records. There are some classic tunes on here- “Riding The Snake”, “3 Days in Darkness”, “Legions of The Dead”. Every track is prime Testament and is right up there with “The Legacy” and “The New Order”- with much better production. The fact that it is, in my view, Testament's best makes it one of the best thrash albums of all time. Chuck proves on this one that he is one of the best and most versatile vocalists in metal, while the chemistry between Peterson and Lombardo is sublime. Steve Digiorgio helping out on bass really helps the cause too- metal royalty! As a final boost, Andy Sneap's production is excellent.

“First Strike...Still Deadly” rounds out the studio releases and is one of my favourite Testament records. Whilst some fans may moan about the band re-recording their earlier classics and the clinical sound, I loved this at the time of release and still do. The sound is excellent, the performances are uniformly good (John Tempesta on drums this time around) and the song choices are stellar. Having Steve Zetro Souza come back for a couple of very early compositions is a nice bonus and overall I would recommend buying this over and above the first two studio albums! That may well not be a popular view, but there it is.

The verdict on this set of re-issues? Three essential releases and two live albums of good to great quality. Testament are usually mentioned in the same breath as Exodus and Overkill as being just outside the Big Four, but that is not to say that they don't knock all of Anthrax's work plus half of Slayer's, Megadeth's and Metallica's discography into a neatly cocked hat. When at their best, as on “The Gathering”, there are few thrash bands who are their equal. After an extended break while Chuck Billy dealt with cancer, Testament returned and to date have released three great studio records from 2008 onwards. A classic band.

Band info: facebook

ALBUM REVIEW: Accept - "The Rise Of Chaos"

By: Richard Maw

Album Type: Full Length

Date Released: 04/08/2017

Label: Nuclear Blast

A

“The Rise of Chaos” is precise, prescient, presented superbly in terms of artwork and production and, more importantly, rocks as hard as anything I have heard this year. A tour de force.

“The Rise of Chaos” CD//DD//LP track listing:

1). Die By the Sword

2). Hole in the Head

3). The Rise of Chaos

4). Koolaid

5). No Regrets

6). Analog Man

7). What’s Done is Done

8). Worlds Colliding

9). Carry the Weight

10). Race to Extinction

The Review:

Accept are back with a new-ish line-up and ten new songs. I'll put this out there straight away: I am a big fan of the Mark Tornillo fronted “new” Accept. “Blood of Nations” and “Stalingrad” were every bit as good as the Udo-fronted band's classics from the early eighties. “Blind Rage” was a very big commercial success for the band, but I found it a touch measured, a little too melodic and, well, just not quite heavy enough for my tastes (although “Stampede” is a true classic opener).

“Restless and Live” followed it as a very fine live 'career best of' and really gave great value for money for the fans. With “The Rise of Chaos”, the band deliver ten tracks over 45 minutes or so... and each track is balls to the wall metal!

No ballads here, and the record itself is a balanced mix of the hardest of hard rock (AC/DC on steroids) and the most Germanic of metal. Opener “Die by the Sword” has all the Accept trademarks in place; sandpaper lead vocals, Teutonic choir vocal backing, razor sharp riffing and rock solid rhythm section. It's a fine statement of intent and the record maintains that momentum throughout. It's a focused and often furious listen.

The song themes range from the dark and dystopian (the title track) to a more light-hearted, if curmudgeonly, view of the world (“Analog Man”). This is not a concept record per se, but as well as looking back to the past for comfort it also references darker events in “Koolaid”, via the Jonestown Massacre. For the most part, though, the record is firmly rooted in the present. The title track is a damning indictment of where the world is in 2017 and this is perhaps one upped by the storming “Carry the Weight”- a fleet of foot hook fest with some very contemporary political references. Is this the first metal album to reference Brexit?! Maybe.

The record is not as relentlessly dark as “Stalingrad”, but perhaps hits a note similar to “Blood of Nations”- but for my money this is a more intense listen. It's so focused and so relevant to the here and the now that I think the band have a real winner on their hands. Instead of pursuing more melodic writing, the band have gone back to their true strengths: riffs as tough as steel and hooks as catchy as anything else out there.

I can't find anything to fault on this album at all; the production is superb and state of the art, the individual performances of old and new members alike are stunning (Wolf Hoffmann is as flawless as ever, Peter Baltes ditto, Mark Tornillo excels) and while the band may have lost Hermann Frank and Stefan Schwarzmann (a huge shame- even if we got The German Panzer out of their departure) they have gained Uwe Lulis and Christopher Williams on guitar and drums respectively.

If you happen to be a fan of old school metal in the vein of early Maiden, Dio-Era Sabbath, NWOBHM's best acts, Judas Priest and so on, then Accept will be right up your strasse, the band have managed to really breathe life into the latter part of their career and recapture the spark and inspiration that made them Germany's truly classic metal band in the 80's. The band are not thrash, but have the heaviness to appeal to any fan of, say, Overkill. They are not hard rock, but your average AC/DC nut would find much to enjoy here. “The Rise of Chaos” is precise, prescient, presented superbly in terms of artwork and production and, more importantly, rocks as hard as anything I have heard this year. A tour de force.

“The Rise of Chaos” is available here

Band info: facebook



ALBUM REVIEW: Overkill - "The Grinding Wheel"

By: Richard Maw

Album Type: Full Length

Date Released: 10/02/2017

Label: Nuclear Blast

This album is a stone cold killer. I have written it and said it before and I will do so again here: Overkill are the best thrash metal band on the planet.

“The Grinding Wheel” CD//DD//LP track listing:

1. Mean Green Killing Machine (7:29)

2. Goddamn Trouble (6:21)

3. Our Finest Hour (5:49)

4. Shine On (6:03)

5. The Long Road (6:45)

6. Let's All Go To Hades (4:55)

7. Come Heavy (4:59)

8. Red White And Blue (5:05)

9. The Wheel (4:50)

10. The Grinding Wheel (7:55)

The Review:

Overkill are back again with “The Grinding Wheel.” First off, it's a cracker. The band has been in a purple patch now for a decade. “Immortalis” was a strong swing into form and then they followed up with the career highpoint of “Ironbound”. “Electric Age” was a similarly awesome and a straightforward thrash record and then “White Devil Armoury” was also an absolute ripper. In my view, the band are at an all time creative high. After a thirty year career and counting, that is some achievement.

With a stable line up in effect for the last decade, I pressed play with high hopes. First impressions? The band are performing at the top of their game. Bobby “Blitz” Ellsworth is ageless. He gives a strong performance throughout and one that is more intense than men half his age. The Dave Linsk/Derek Tailer guitar partnership is in full effect (catch them live; what a team!) and DD Verni locks down the low end, while Ron Lipnicki brings the rhythms with consummate professionalism on what appears to be his swansong with the band. Don't worry, I saw Eddy Garcia play drums with them in 2016 and he slayed.

Opener “Mean Green Killing Machine” is seven and a half minutes of hard as nails thrash. For those of you who have been looking out for the advance tracks, “Goddamn Trouble” is up next - tales of high speed misdemeanour abound on this thrasher; look out for the Deep Purple reference and the nostalgia-triggering tape-into-dash verse!

The thrash fest continues through “Our Finest Hour” while “Shine On” is a mid paced stomper that Overkill often throw in on their best albums. “The Long Road” is very hooky after a lengthy and lead- laden intro, packing a very memorable “Onward! Upward!” refrain. At ten tracks, Overkill have delivered a good lengthy record here. The first five fly by- even with song lengths almost all north of six minutes! The second half is just as strong; “Let's All Go To Hades” is kind of like a Motorhead type track, which is fitting, considering Overkill's consistency and longevity. It has a strong memorable hook and the lyrics are rather poignant. The band mix things up here and there, of course, and throw in “Come Heavy” here for a groove laden departure. It's a fine moment for the album and recalls Sabbath at their most playful with a wonderful loping feel.

Overkill always had more rock and roll to them than the likes of Slayer and you can often hear echoes of bands such as AC/DC and Motorhead in their records- this is a good thing and reinforces the working class ethic of the band: nothin' fancy; just thrash metal. “Red White and Blue” has a strong “liberty or death” message- with a difference- and is a thrashing wake up. “The Wheel” and “The Grinding Wheel” round the album out in style. The last two tracks feel like companion pieces to one another, the former being a very catchy revved up anthem, the latter being something of a moody epic, Overkill style.

Having listened through the record multiple times now, I can confidently state that it is a winner. It's immediate and showcases everything that Overkill do well. The production is warmer than “White Devil Armoury” and somewhat less processed than the previous three albums. The drums are a little more organic sounding and the album benefits from this less machine like feel. The aforementioned rock 'n' roll feel comes from this, in my estimation.

With Nuclear Blast delivering a broad range of formats (I have pre-ordered the vinyl and limited CD with a bonus track) there is choice for the collector and casual fan alike. Once again, the label deliver in terms of formats, value for money and packaging. The front cover looks good too- with its gears-locked-in-place visual it absolutely conjures up the right imagery. For a band like Overkill, this is important as they sell a fairly consistent amount of albums, I believe, and have a recognisable brand and sound. They make an album, promote it by touring and then make another one. Professionals to the last.

If you have never heard Overkill, by all means start here... or any of the previous three albums... or “Horrorscope”, “Years of Decay”, “Feel The Fire”, “From The Underground and Below” and so on. For me, this record is kind of a cousin to 1994's “WFO”; similar thematically and even in production style. Will it win over new fans? It should. Overkill are operating in the kind of bracket that Motorhead did; they've always been around, they've always put out albums every two years or so, their records are always at least good (often great) and they have ALWAYS been under-appreciated. Get on board now, before it's too late. This album is a stone cold killer. I have written it and said it before and I will do so again here: Overkill are the best thrash metal band on the planet. Enjoy them while they are still here.

“The Grinding Wheel” is available here

Band info: official || facebook