The history of thrash metal is arguably one of the most blatant paradoxes within the broader metal world. While many would assert that the sub-genre hit its apex in the mid-80s, with a highly varied spectrum of expressions ranging from mainline melodic fair of Megadeth's Peace Sells...But Who's Buying? and the punk-infused Game Over courtesy of Nuclear Assault, to the extreme darkness and fury of Slayer's Reign In Blood and Dark Angel's Darkness Descends making 1986 the year of thrash for many, there is an alternative view that is equally plausible that involves putting the climax of the style near the end of its original run in the early 90s. Though the progression in style that thrash underwent at this time was predicted to an extent by Metallica's Master Of Puppets in 1986, it wasn't until the follow up effort ...And Justice For All that things truly started to change, and barring the inherent flaws in said records due to internal politics and Lars Urlich's douche-baggery, provided an archetype that would be followed to masterful effect by several prominent players.
Though usually overshadowed by the catchy and speedy showmanship of Among The Living, the fifth and final classic Anthrax album Persistence Of Time marks the point where the SRB rockets have been dropped and the real space travel begins. Drawing upon the same gradualism and longer songwriting that typified Heathen's Victims Of Deception, Megadeth's Rust In Peace and Forbidden's Twisted Into Form, they provided a New York answer to the Bay Area question, all the while maintaining their generally punk-infused, gang-chorus happy format. It doesn't go to the point of becoming an entirely different band playing in a style that was not part of them to begin with, but expands upon and exaggerates the technical prowess and infectious hooks that have arguably made Anthrax the most accessible member of the Big 4. But even more so than this album's lack of inhibition in showcasing the talents of all persons involved, it is an album that is highly measured and effective in its approach, allowing each transition to flow smoothly and for each idea to be given its proper emphasis.
As a band, Anthrax has never been wholly averse to writing longer songs, but they've generally compensated for a fairly repetitive approach to progression with either an exaggerated level of speed or a comical angle to the lyrics and vocal presentation to provide a needed degree of distraction. However, the elongated epics that round out the bulk of the first half of this album opt not so much to distract or accent good ideas with additional toppings, but rather to present a greater multiplicity of ideas and progressing from a chugging groove or atmospheric starting point to a faster destination. Indeed, the seven minute long mid-paced crusher "Keep It In The Family" is more in line with the sort of ground pounding heaviness that Metallica rolled out on "The Frayed Ends Of Sanity" and "The Shortest Straw", and apart from Joey Belladonna's lighter and less gritty vocal approach could pass for a Metallica song. The same story holds true for the faster-paced cruisers "Blood" and "Time", though Scott Ian's riff work gets quite busy and even presents a less redundant version of Metallica's 1988 handiwork.
While this isn't an album that lives by speed alone, it is important to note that Anthrax by no means forgot how to cook or pretended that they did in the name of fitting in with the crowd here. This becomes immediately apparent with the blurring riff work and rapid fire drumming heard on "Gridlock" and this opus' highly frenetic closer "Discharge", both of which would have rivaled the most intense moments heard on Among The Living while also benefiting from a heavier and more polished production. Likewise, the gag-based sense of comedy makes a brief appearance with the Joe Jackson cover "Got The Time", which is presented in its original punk rock format, save a bit faster and with a heavier guitar tone, but nevertheless sticks out like a sore thumb next to the longer and far more complex original work. Truth be told, Dan Spitz's guitar soloing proves to be the most unchanging element in this band's first decade of existence, and his generally reserved and expressive playing sees the usual share of spotlight as any previous LP, whereas Scott Ian's riff work invariably steals the entire show.
In a sense, this is Anthrax's finest hour as a thrash metal band, namely if one discounts the first two albums as being more of a speed metal affair despite being a bit more memorable and captivating song for song. One might even call Persistence Of Time the ultimate middle of the road thrash metal album where heaviness is emphasized and speed is used a bit more sparingly. It's not quite as technically amazing as Rust In Peace, nor does it succeed in cycling through as many different changes and ideas as Time Does Not Heal or Twisted Into Form, but it does something a bit more inviting for those looking for something closer to a straight up thrashing experience, namely taking the road that ...And Justice For All would have there been any noticeable degree of bass presence in the mix. It's an undeniable swansong from a band that would probably suffer the worst downturn in musical direction thanks to the ascendancy of grunge a few years later, and an essential offering for any fan of thrash metal.
Track List :1. Time
2. Blood
3. Keep It in the Family
4. In My World
5. Gridlock
6. Intro to Reality
7. Belly of the Beast
8. Got the Time (Joe Jackson cover)
9. H8 Red
10. One Man Stands
11. Discharge
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