ANTHRAX - WORSHIP MUSIC ALBUM REVIEW

 

Worship Anthrax - 90%

ViciousFriendlyFish, December 2nd, 2013

With Joey Belladonna deciding not to stick around after the band's 2005-2007 reunion tour, most fans were left in doubt as to whether he would record an album with Anthrax again. This album began life in 2008 when the band had new vocalist Dan Nelson in their ranks. However, there were obviously problems between Nelson and the rest of the band and by the next year, he was out. They went back to their other old singer, John Bush, and together they carried on touring, and it made fans speculate as to whether he would be the singer for Worship Music. However, Bush simply didn't want to commit to it and decided to leave again, which opened the door for Belladonna to return. Soon, it became pretty clear that Belladonna would be the singer, and this decision was certainly no mis-step.

This albums finds the bands revisiting their old thrash metal roots, yet does not sound like a rip-off of their classic albums. However, the band sounds more metal here than they had in many years, with their Bush albums generally having more of a straightforward rock feel. I'm a fan of Bush-era Anthrax and did appreciate those albums, but it's great to see Belladonna reunited with his old bandmates and making some great, heavy music together. It's a reunion album that sure doesn't suck.

The album's lyrical themes vary, but there's still definitely a theme running across: a celebration of metal. The album title and artwork alone strongly alludes to it, as well as references to metal bands in some song lyrics. "In The End" is an emotional tribute to fallen rockers Dimebag Darrell and Ronnie James Dio - now the band were especially affected by Dimebag's loss due to his work with the band on previous albums, providing additional solos, and was even referred to by band members as the sixth member of the group. The song is one of the best on the album. Belladonna's vocals are melodic and strong, and the band are tight. "Judas Priest" is...well, it's kind of obvious from the title - a tribute to the metal band Judas Priest! There are references to several Priest songs throughout. Another epic. In keeping with the metal celebration, there is an instrumental intro titled "Worship" and two "Hymns" that serve as musical interludes. When the track listing was revealed, I was a little worried that the band would be going overboard with the whole worship music theme with these tracks and that they would resemble a church meeting, but with heavy metal as the religion. Thankfully, when I listened to the album upon its release, I was proved wrong. This instrumentals serve as nice introductions for the track that follows.

The band's general attitude shines through well throughout. "Fight 'Em Til' You Can't" on the surface is a song about killing zombies, but is also, in Scott Ian's own words "a metaphor for out attitude" and that sounds just about right. The band has had to fight through a lot of obstacles in their career such as lineup changes and record label shutdowns, and they've sure come out on top. Many great metal songs are about protests and taking back what's yours, and Anthrax has songs like that on here, too. "Earth on Hell" and "Revolution Screams" are anthems that have apocalyptic undertones; they speak of the fall of empires and oppressive powers and the rise of a free world. And of course, Anthrax were inspired by books, films, and TV back in the day, and this tradition is carried on in "The Constant", which was inspired by the TV show "Lost". I'm sure "Lost" fans will certainly appreciate the lyrics on this one.

Stepping away from the faster songs ("Earth on Hell", "Fight 'Em", "The Giant") is the slow moving, menacing "Crawl". It's the first time we've really heard Belladonna sing a downbeat Anthrax song, and it's quite new to hear him sing in a lower register like he does here for some parts, but also rather refreshing.

Overall, fans should not feel much disappointment from Worship Music, if any. The band play very well and are just as fast, heavy and full of attitude as they always have been. Belladonna's voice has become a little deeper with age but if anything, this fits in well with the material on the album, perhaps more so than if his voice sounded exactly the same as it did in the 80s, yet it's still undeniably Belladonna's voice. The album has so many memorable moments and it does heavy metal a lot of justice, giving us a reminder that there are great things still to come from Anthrax.

Track List  :

1. Worship 
2. Earth on Hell 
3. The Devil You Know 
4. Fight 'em 'til You Can't 
5. I'm Alive 
6. Hymn 1 
7. In the End 
8. The Giant 
9. Hymn 
10. Judas Priest 
11. Crawl 
12. The Constant
13. Revolution Screams 
14. New Noise (Refused cover) 

Line Up  :

Frank Bello Bass, Vocals (backing)

Scott Ian Guitars, Vocals (backing)

Charlie Benante Drums, Guitars (electric, acoustic)

Joey Belladonna Vocals

Rob Caggiano Guitars

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Anthrax  and Megaforce Recordings! 

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ANTHRAX - THE GREATER OF TWO EVILS ALBUM REVIEW

 

A more modern take on Anthrax's thrash classics. 

By Beyond_Recognition, January 13th, 2011

Back in 2004, Anthrax was celebrating the 20 year anniversary of the release of their debut album "Fistful of Metal." The anniversary celebration included the release of the "Music of Mass Destruction" live album, and this album "The Greater of Two Evils": a live in the studio re-recording of many of Anthrax's most famous songs from their classic thrash era.

I have read a number of reviews of this album over the years and the general consensus has been the same since this album came out. The John Bush fans like this album and the Joey Belladonna fans slam it and call it pointless. Being a fan of both singers and both eras of Anthrax, I feel this album is almost a best of both worlds...

With "The Greater of Two Evils" (referred to as TGOTE from here on) the songs stay relatively faithful to the original versions. The only differences are that the verse sections of Deathrider are slowed down to half tempo and songs such as "I Am The Law" and "Caught in a Mosh" are very slightly slowed down (albeit still very thrashy and certainly not overly slow). However, a few songs including "Panic" and "Gung Ho" manage to bring the intensity to a much higher level than the original versions ever were. Thus, I feel that in terms of speed, heaviness, and other musical/instrumental factors, many song differences tend to even each other out as the album plays it itself through.

Song differences aside, this album was obviously meant to showcase the best of Anthrax's early material with a more updated modern production. The result is highly successful as the songs recorded for this album sound extremely punchy, defined, clear, and thick. In my opinion, this is possibly the best production job of any Anthrax album to date. The guitars are powerful, the bass guitar is mixed well and audible, the drums are not overly powerful but still solid, and the vocals fit nicely among all the instruments.

This album was also meant to give Anthrax fans of the 90's and 2000's period a chance to hear studio renditions of the older songs with John Bush on vocals. Again, I feel the result is successful as John makes the songs almost sound like they were wrote with his voice in mind. His voice is melodic, but in deeper, more baritone fashion, which lends a more unique and different character each and every song recorded for this album in comparison to their original versions.

In terms of the other members, I feel they put in a strong performance as well considering that these tracks were recorded in live takes with likely few to no overdubs. Scott Ian and Rob Caggiano tear through each song adequately and even though one can hear a few hiccups, string noises, and other sounds associated with live metal, it all only adds to organic feel of this recording. Though some of Rob's solos do not follow the exact template of Dan Spitz's solos on the original versions of the songs, I feel that Rob's improvisation is very tasteful and executed quite convincingly. Elsewhere, Frank Bello and Charlie Benante do not miss a beat on the bass guitar and drums respectively. Charlie in particular puts in a stunning performance on the drums and proves that he is still one of metal's elite drummers even in the present day.

Still, the majority of old school Anthrax fans do not seem to enjoy this album one bit. I'm not one to push my opinions or say that others opinions are wrong. Instead I will say that as a 14 year old youngster just beginning the journey of learning to play metal guitar when TGOTE was released, I was inspired to play faster, heavier, and more aggressively after just one listen to this album. Yes, I already knew a few of the songs from their previous versions and respected them for what they were, but when I heard these versions, I knew that I needed to practice my playing for a long time to match the performances on this album. Years later, I appreciate the original versions of these songs much more and have come to like and admire them very much. To this day however, when I pop in TGOTE, I still get that feeling I had as a 14 year old hearing this album for the first time.

So overall, my opinion on this album is that is a classic, even if it is only re-recordings of old songs. TGOTE does not replace the original song versions recorded in the late 80's and early 90's, but I believe the versions here stand on their own and are great in their own right. So for anyone on the fence about checking out this album if you have heard the original versions, keep an open mind about this record. Yes, it sounds different and maybe very different at times, especially vocally. However, if you are a general metal fan with an interest in thrash metal, I think you will like this album. Scott Ian's linear notes in the album indicate that this album was released to give older ears a reminder of the golden age of thrash as well as give newer ears a chance to hear it for the first time. Figuratively for this reviewer, I'd say that this album did just that!

So, in closing I give this album a 95 rating. The only -5 about it comes from the production end. Yes, I said the production is well done. However, some static and clipping is audible on TGOTE due the loud mastering that has become all too common in modern metal releases. I'm hoping to someday hear a version of this album mastered with a lower volume in order to hear more dynamics and rich sound quality. Otherwise, this album is rock solid in my opinion!

Track List  :

1. Deathrider 
2. Metal Thrashing Mad 
3. Caught in a Mosh 
4. A.I.R. 
5. Among the Living
6. Keep It in the Family
7. Indians
8. Madhouse 
9. Panic
10. I Am the Law 
11. Belly of the Beast
12. N.F.L.
13. Be All End All 
14. Gung-Ho 

Line Up  :

Charlie Benante Drums

Scott Ian Guitars (rhythm), Vocals, Guitars (lead) (on "Panic", "Anthrax")

Frank Bello Bass, Vocals (backing)

Rob Caggiano Guitars (lead)

John Bush Vocals

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Anthrax  and Megaforce Recordings! 

Purchase your remastered copy today!

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ANTHRAX - YOU HAVE COME FOR YOU ALL ALBUM REVIEW

 

You cannot kill what doesn't suck - 65%

By DerekB2323, January 6th, 2021

Every band has like seven "return to form" albums that aren't quite returns to form.

This is one of those albums.

Of course, in 2003, even an album like that was a godsend coming from Anthrax. These once-mighty metal legends had succumbed to bland songs (Stomp 442), stylistic confusion (Volume 8) and a long list of professional and personal setbacks, so you can imagine the reaction when the band dropped "What Doesn't Die" like a thrash warhead on an army of fans who expected a potato gun.

"What Doesn't Die" is not only a tremendous opening track, but it was also a harbinger of things to come. The thrash metal revival was just around the corner in 2003, and in retrospect, perhaps songs like this were the seedlings. It kicks off—in a literal sense—with some double bass from Charlie Benante and a start/stop riff before launching into a completely unexpected thrash tirade. Catchy riffs, a big chorus, a trademark Anthrax mosh section...with all due respect to Sound of White Noise, this would've been a great sound to transition between the Belladonna and Bush eras.

But unfortunately, as with many of these "return to form" albums, the blistering opening track is sort of a false promise. Yes, We've Come for You All is the best album Anthrax had released in a decade, but it's also a far cry from throne-reconquering efforts like For All Kings.

Things quickly settle back into that familiar 1990s Anthrax groove, but there's a difference on We've Come for You All—its improved songwriting is largely able to compensate for its stylistic shortcomings. Even when it seems like things are heading for the mid-paced doldrums, there's usually a fun riff or hook to keep your finger off the skip button. In that sense, Anthrax's career renaissance really can be traced back, at least in part, to We've Come for You All.

Even if all they did was stop the bleeding.

Things pick back up with "Safe Home," which was the album's big single. It's a beautiful mainstream metal song with a soaring, heartfelt chorus from John Bush, who sounds far more interested and engaged on this album. We've Come for You All hits a decent stride in its middle, as Charlie Benante steals the show on the percussive "Nobody Knows Anything" and the band storms back into a thrashing pace with "Black Dahlia." This is a great example of how We've Come for You All differs from its two predecessors—when this one jumps around stylistically, it does so with confidence and decent songs.

The album comes to a close with the surprising "W.C.F.Y.A.," which is one of the band's most underrated songs. It's a simple groove/heavy metal song, but its chorus is an ultra-catchy fist-raiser that brings the album to a rousing close.

Don't be mistaken. We've Come for You All is far from a perfect album, and its restraint often does keep it stuck in neutral. That's especially disappointing considering how much better the music is when it lets loose, but looking at this album in context, the marketing was at least partially accurate. We've Come for You All was a promising step forward for Anthrax.

Even if that promise was still a few years away from being fully delivered.

Songs to check out: What Doesn't Die, Safe Home, W.C.F.Y.A.

Track List  :

1. Contact

2. What Doesn't Die

3. Superhero

4. Refuse to Be Denied

5. Safe Home

6. Any Place but Here

7. Nobody Knows Anything

8. Strap It On

9. Black Dahlia

10. Cadillac Rock Box

11. Taking the Music Back

12. Crash

13. Think About an End

14. W.C.F.Y.A.

Line Up  :

Scott Ian Guitars (rhythm), Vocals (backing) 

Charlie Benante Drums, Guitars, Guitars (acoustic) 

Frank Bello Bass, Vocals (backing), Vocals (lead) (track 12) 

Rob Caggiano Guitars (lead), Vocals (backing) 

John Bush Vocals

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Anthrax  and Century Media Recordings! 

Purchase your remastered copy today!

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ANTHRAX - THE THREAT IS REAL 8 ALBUM REVIEW

 

Anthrax follow their worst album...with their second-worst album - 45%

By DerekB2323, January 6th, 2021

Anthrax was a band in flux in 1998. Three years had passed since they released Stomp 442, which flopped with both consumers and critics, and they lost their record deal with Elektra. A previously stellar career was suddenly hitting some serious personal and professional potholes.

And the road wasn't any smoother with Volume 8.

To be clear, Volume 8 is a better album than Stomp 442. Well, actually, that's a bit misleading—Volume 8 has better songs than Stomp 442, but it's a far less cohesive album. At least Stomp 442 had an identity and consistent tone. Volume 8 feels more like a compilation than a studio release, a confused and unfocused effort that frankly reflects the state of the band at the time.

The album gets off to a much better start than its predecessor. "Crush" is one of the best songs of the Bush Era, and especially coming after Stomp 442, its faster pace and melodic chorus are a welcome change. A big single, "Catharsis," is up next, and it's the kind of song that divides metal fans. You'll either love its simplicity and hooks or you'll vomit thrash purity all over the place, but for better or worse, it's another one of the better songs from the Bush Era.

So far, so decent, right? Well, this is where Volume 8 decides to have a schizophrenic breakdown.

The next song, "Inside Out," is one of the grooviest groove songs any thrash band ever grooved in the 1990s. A vulgar display of Pantera worship from a band that really, really wanted to be Pantera at the time. But with the next three tracks, Volume 8 goes from uninspired groove metal to awkwardly out-of-context S.O.D. thrash to a goddamn country rock song, complete with a harmonica and a fake country accent from John Bush.

I'm not making this up. I swear, this is actually, literally what's on the album.

I have no fucking idea what they were thinking. Any momentum Volume 8 might've had with its earlier tracks is completely killed by the album's identity crisis. It seems like Anthrax wanted to shift their sound after Stomp 442's poor reception, but they couldn't decide which direction to go. It comes across as a jumbled mess of ideas, like Scott Ian wrote a bunch of different genres on a dartboard, blindfolded himself and just started throwing.

Things continue in an unmemorable and generic fashion until Volume 8 comes to an unmemorable and generic close. More groove, more radio rock, more S.O.D. bursts, more confusion from a great band that shouldn't have to try so hard.

These days, Anthrax are putting out some of the best material of their career, but in 1998, these talented dudes were in a creative rut. And frankly, it was largely of their own making—the perceived obligation to shift their sound in the Bush Era resulted in a stylistic aimlessness. In that way, this album's cover is perfectly fitting. If Charlie and Scott shook a Magic 8-Ball and played whatever the hell it said, they would've gotten a more cohesive record than Volume 8.

Track List  :

1. Crush

2. Catharsis

3. Inside Out

4. Piss'n'Vinegar

5. 604

6. Toast to the Extras

7. Born Again Idiot

8. Killing Box

9. Harms Way

10. Hog Tied

11. Big Fat 05:59   

12. Cupajoe 00:46   

13. Alpha Male

14. Stealing from a Thief

15. Pieces

Line Up  :

Scott Ian Guitars, Vocals (backing), Lyrics

Charlie Benante Drums, Percussion

Frank Bello Bass, Vocals (backing), Vocals (track 15)

John Bush Vocals, Lyrics

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Anthrax  and Ignition Recordings! 

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ANTHRAX - STOMP 442 ALBUM REVIEW

 

Bush Era takes a wrong turn as Anthrax drops the ball 

By DerekB2323, January 5th, 2021

I'll say this. Stomp 442 definitely has a vibe. It's a fun record with a warm, appealing tone. The guitars are thick and crunchy, and as usual, John Bush sounds like a lion. You know that feeling of driving around blasting music on a summer day? That's the vibe of Stomp 442.

Unfortunately, it starts raining as soon as you start the car.

Stomp 442 is a weird album. On their previous record, Sound of White Noise, Anthrax figured out how to successfully adjust their sound for the 1990s. Songs like "Only" and "Potters Field" tamed their driving thrash into something more accessible while also, you know, not sucking. So clearly, they figured out the recipe for good mainstream metal. And that makes the fact that they decided to do something altogether different on Stomp 442 even weirder.

For its many flaws, the thing that ultimately derails Stomp 442 is the songwriting. Say what you will about Anthrax, but they know how to write a memorable song. But there's only one memorable song on Stomp 442, and aside from a handful of cool moments, the rest of the album is dull and even grating at times.

Seriously, the choruses in songs like "Random Acts of Senseless Violence" and "Nothing" will make you cringe.

For what it's worth, "Fueled" is the album's lone winner. It builds from a cool strummed riff that leads into a nice chugging verse and a big chorus. Charlie Benante also throws in a few double bass kicks, which drive up the energy, before the song ends with a modern take on Anthrax's classic mosh sections. It's one of John Bush's best songs with Anthrax and a cool slice of mainstream metal.

"King Size" is also a cut above the rest. "In a Zone" is often pointed out as another highlight, but I've always been more fond of "Tester." It has the same kind of infectious groove, but with a catchier chorus and a more dynamic structure—at least by this album's standards. In fact, its lack of dynamics is the other major issue with Stomp 442, because the rest of the album bleeds together into a long blur of choked riffs, mid-tempo beats and hooks that fall flat.

Still, as I mentioned, there's definitely a vibe. The album's general direction and tone at least give Stomp 442 an identity. They may have blown it with the songwriting, but it seems like Anthrax had an idea for the sound they wanted, and that at least gives the album something to lean on. Stomp 442 is best used as background music, when you can enjoy its rocking tone without focusing on the fact that it all sounds the same.

I often hear Scott Ian talk about how their record label, Elektra, dropped the ball with Anthrax. Perhaps there's some truth to that, but Anthrax themselves own some of the blame, too. The band's Bush Era was off to the races with Sound of White Noise, but instead of fueling that momentum, Anthrax crashed it into a ditch with Stomp 442.

Track List  :

1. Random Acts of Senseless Violence

2. Fueled

3. King Size

4. Riding Shotgun

5. Perpetual Motion

6. In a Zone

7. Nothing

8. American Pompeii

9. Drop the Ball

10. Tester

11. Bare

Line Up  :

Scott Ian Guitars, Vocals (backing)

Charlie Benante Drums, Percussion, Guitars (lead)

Frank Bello Bass, Vocals (backing)

John Bush Vocals

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Anthrax  and Elektra Recordings! 

Purchase your remastered copy today!

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ANTHRAX - SOUND OF WHITE NOISE ALBUM REVIEW

 

A new Anthrax unveils a new sound with undeniable results 

By DerekB2323, January 9th, 2021

In the wake of Metallica's game-changing "Black Album," virtually every major thrash band toned down their music and adopted new styles, hoping to maintain relevance in a post-Sandman metal world. Megadeth conjured Countdown to Extinction, Testament practiced The Ritual, Exodus delivered us Force of Habit and the list goes on and on and on.

For some bands, the change was a disaster.

For Anthrax, it was a triumph.

Sound of White Noise was a pivotal record for Anthrax. Not only was it their Black Album, it was also their first album with their new singer, Armored Saint's John Bush. A transitional album is one thing, but a transitional album with a new singer? There was every chance this album would be a wreck, and for thrash purists, it was. But for those open to a band trying new things, Sound of White Noise was a creative rebirth and revitalization with songs that are just too good to deny.

The album starts with—what else—but some white noise and a voice preparing you for "a journey into sound." The static breaks with Charlie Benante's snare as the band launches into "Potters Field," and the tone is immediately set. This song has an infectious, stomping post-thrash riff that, while slower than the band's prior work, somehow sounds exactly like Anthrax. The "darker" vibe of Persistence of Time has also been maintained, as John Bush laments that while he "was born to save you," he was also "born to die."

Speaking of which, John Bush sounds phenomenal on this record. Personally, I'm a much bigger fan of the Belladonna Era, but Bush's thicker, grittier voice is a perfect match for the tone Anthrax is going for on Sound of White Noise.

"Potters Field" goes right into "Only," which Metallica's James Hetfield has described as a "perfect song." It's an absolute heavy metal anthem, its driving riff giving way to one of the band's most memorable choruses. And again, as much as I love Joey Belladonna, it's hard to imagine his over-the-top voice working as well on a song as serious and heartfelt as "Only." John Bush really shines here, erasing any doubts new listeners might've had about the new guy.

"Room for One More" kicks in next, giving Sound of White Noise a nearly flawless 1-2-3 punch. And from there, the album just keeps hammering you with hook after hook. "Hy Pro Glo" has a fun start/stop riff that builds up to a chugging break, before "1000 Points of Hate" comes in with a riff that wouldn't sound out of place on Persistence of Time. This underscores something that's often overlooked about Sound of White Noise—yes, it's a different sound, but it's a fairly faithful evolution of what they'd been doing for years. It's an evolved sound, but not a changed sound.

Well, except for "Black Lodge."

Another one of the album's highlights, this is a dark, somber ballad with a beautiful vocal performance from Bush, gradually escalating to a crescendo of chugging riffs and guitar harmonies. This is exactly the kind of material Anthrax could never pull off in the past, as their good-time thrash didn't translate to darker melodies as well as their peers. Just a beautiful song, and it's brilliantly followed by the album's fastest track in "Burst," an apparent peace offering to the thrashers.

Sound of White Noise is a divisive album among metal fans, as most of these pseudo-Black albums are. If you're a thrash fan who only wants to hear thrash from thrash bands, you're going to hate Sound of White Noise and that's cool. You might not like the style personally, but to deny its craftsmanship would frankly be disingenuous. The songs are honed to perfection, the performances are flawless and unlike the next few Anthrax albums, the stylistic change is clearly inspired. As a mainstream heavy metal album, this is almost as good as it gets.

Track List  :

1. Potters Field
2. Only
3. Room for One More
4. Packaged Rebellion
5. Hy Pro Glo
6. Invisible
7. 1000 Points of Hate
8. Black Lodge
9. C11 H17 N2 O2 S Na
10. Burst
11. This Is Not an Exit

Line Up  :

Scott Ian Guitars (rhythm), Bass (6 string), Vocals (backing)

Frank Bello Bass, Vocals (backing)

Charlie Benante Drums

Dan Spitz Guitars (lead)

John Bush Vocals

***Disclaimer*** 

I do not own any copyright for any of this material!

Copyright belongs to Anthrax  and Elektra Recordings! 

Purchase your remastered copy today!

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ANTHRAX - PERSISTENCE OF TIME ALBUM REVIEW

 

A persistent sign of the times. - 94%

By hells_unicorn, October 29th, 2017

Written based on this version: 1990, CD, Island Records

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

Line Up  :

Scott Ian Guitars (rhythm, lead track 8), Vocals (backing)

Frank Bello Bass, Vocals (backing)

Charlie Benante Drums

Joey Belladonna Vocals

Dan Spitz Guitars (lead), Vocals (backing)

 

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Copyright belongs to Anthrax  and Island Records Recordings! 

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ANTHRAX - PERSISTENCE OF TIME FULL ALBUM

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