⛧
The Legacy (1987)
Released in July 1987, The Legacy is the first full-length album from Testament. Unlike some bands who rush into the studio within a year or two of forming, these guys spent four years crafting this material, and it definitely worked to their benefit. They had time to perfect everything and the result is the strongest and most consistent album that they ever recorded.
Back in my high school days, there was a shop that bought and sold used records, tapes, books, etc. Whenever selling my stuff, I would go scan the cassettes and often ended up giving them back the money they'd just paid me (and then some). This is how I discovered Testament's debut. I tossed it in one of the broken-down tape players that were sitting around for people to preview things, and it took all of two seconds for me to decide that it would become part of my collection. As I was very much into '80s thrash, this was exactly the kind of thing that I was looking for.
The Legacy is a very dynamic record, built on a solid foundation of intense thrash, such as on tracks like "Over the Wall" and "C.O.T.L.O.D." while their early roots are very obvious. Some of the drum patterns and vocal melodies almost feel like remnants of the early '80s underground, recalling the sort of metal that populated those first Metal Massacre compilations before thrash had completely taken over. There is a darker side to the album which can be heard on such tracks as "The Haunting" and "Burnt Offerings", with riffing that evokes the atmosphere of the early Slayer albums. Throughout the album, there are acoustic and clean guitar passages that give the album somewhat of a sombre feel at times. This, along with some of the arrangements and eerie melodies, hearkens back to Mercyful Fate in the sense of creating mini-epics.
The vocal patterns that previous vocalist Steve Souza created were perfected by Chuck Billy, who has a much more powerful delivery. It's a shame that Souza didn't remain associated with Testament to write all of the vocal lines, as his ideas, coupled with Billy's voice, work very well with this material. He is quite impressive at times, especially with some of the insane screams. That said, even the calmer vocal melodies add to the somewhat gloomy epic aura that permeates this L.P.
The more serious approach to the songwriting and execution found on this album suits the band's abilities far more than anything they'd attempt later on. Alex Skolnik's solos add a lot of depth and feeling to the songs, and this is one of the most notable characteristics of Testament's old records. The drumming has a good, old school feel, though it's nothing technical or complicated. Clemente's double-bass work is done pretty well, especially considering that he was never given much credit as a drummer.
With The Legacy, Testament created an unforgettable classic of '80s thrash metal that nearly rivals such albums as Ride the Lightning and Peace Sells... The sense of melody and epic atmosphere is what sets this apart from so many of its peers. Unfortunately, these guys would never match this masterpiece but what they created here is timeless and essential.
Back in my high school days, there was a shop that bought and sold used records, tapes, books, etc. Whenever selling my stuff, I would go scan the cassettes and often ended up giving them back the money they'd just paid me (and then some). This is how I discovered Testament's debut. I tossed it in one of the broken-down tape players that were sitting around for people to preview things, and it took all of two seconds for me to decide that it would become part of my collection. As I was very much into '80s thrash, this was exactly the kind of thing that I was looking for.
The Legacy is a very dynamic record, built on a solid foundation of intense thrash, such as on tracks like "Over the Wall" and "C.O.T.L.O.D." while their early roots are very obvious. Some of the drum patterns and vocal melodies almost feel like remnants of the early '80s underground, recalling the sort of metal that populated those first Metal Massacre compilations before thrash had completely taken over. There is a darker side to the album which can be heard on such tracks as "The Haunting" and "Burnt Offerings", with riffing that evokes the atmosphere of the early Slayer albums. Throughout the album, there are acoustic and clean guitar passages that give the album somewhat of a sombre feel at times. This, along with some of the arrangements and eerie melodies, hearkens back to Mercyful Fate in the sense of creating mini-epics.
The vocal patterns that previous vocalist Steve Souza created were perfected by Chuck Billy, who has a much more powerful delivery. It's a shame that Souza didn't remain associated with Testament to write all of the vocal lines, as his ideas, coupled with Billy's voice, work very well with this material. He is quite impressive at times, especially with some of the insane screams. That said, even the calmer vocal melodies add to the somewhat gloomy epic aura that permeates this L.P.
The more serious approach to the songwriting and execution found on this album suits the band's abilities far more than anything they'd attempt later on. Alex Skolnik's solos add a lot of depth and feeling to the songs, and this is one of the most notable characteristics of Testament's old records. The drumming has a good, old school feel, though it's nothing technical or complicated. Clemente's double-bass work is done pretty well, especially considering that he was never given much credit as a drummer.
With The Legacy, Testament created an unforgettable classic of '80s thrash metal that nearly rivals such albums as Ride the Lightning and Peace Sells... The sense of melody and epic atmosphere is what sets this apart from so many of its peers. Unfortunately, these guys would never match this masterpiece but what they created here is timeless and essential.
(15 May 2009)
The New Order (1988)
In early 1988, less than a year after the release of The Legacy, Testament returned with their sophomore effort, The New Order. Despite being recorded in the same studio by the same line-up and produced by the same guy, it failed to reach the level of brilliance found on their debut. Perhaps it was the haste with which the band wrote and recorded another album. Whereas the tracks on The Legacy had been cultivated for years, the material found on The New Order didn't have the time to be perfected before being put on record. The result was sort of mixed.
I initially purchased this album just a few months after their first one. I was highly impressed with it, in the beginning. Again, I wasn't as analytical about everything back then; at least, not until I'd owned something for six months or so. It took quite some time for this album to leave my stereo. However, in the months and years that followed, it would become clear that it simply lacked the staying power that The Legacy possessed.
From the opening moments of "Eerie Inhabitants", you will notice a bit more effort being put forth to create an atmosphere that removes you from the mundane existence that you were cursed to be born into. There are similar pieces, throughout the album, such as the instrumental "Hypnosis" and the first minute or so of "Trial By Fire" and "Disciples of the Watch". For some, these atmospheric melodies hold no value and are deemed little more than 'guitar wankery'. Personally, I disagree with this narrow-minded view.
Regardless of which side of the fence you're on, concerning that issue, there is plenty of intense thrash to satiate your hunger. The first song displays a good balance between straight thrash and the more melodic side. There are flashes of brilliance, reminiscent of their debut album. Side A has very little to complain about, with the exception of the feeling that some parts (a chorus here or there) seem too accessible and generic. The title-track and "Trial By Fire" are guilty of this. The production is still strong, putting the guitars at the forefront where they belong. Eric Peterson and Alex Skolnick are the stars of this album, naturally. Clemente's drumming is fairly basic, but he is consistent enough. Chuck Billy doesn't sound as dark in his vocal delivery, but this is a symptom of that which infects the whole album. Greg Christian, on bass, doesn't appear to stand out too much, though he'd get his opportunity on the following album. He's audible, more or less, but not anything to really devote great amounts of attention to.
On Side B, "Disciples of the Watch" proves to be a very strong track, though the chorus gets a bit tedious, all these years later. Though there are several points during the album where things feel a little too generic or light-hearted, it's the Aerosmith cover song, "Nobody's Fault", that really destroys the momentum of the record. To make matters worse, this was one of two songs chosen for music videos. The only reason this song seems to blend in as it does is due to the relaxed atmosphere that is prevalent on The New Order. As many times as they repeat the word 'sorry', during the chorus, nothing can really salvage the album from the damage done by this song's presence.
The record gets back on track with "A Day of Reckoning". This one turns out to be one of the better songs on here, with a a nice vocal melody in the chorus. This one feels more genuine that some of the others; it's neither designed for radio nor created with hopes of becoming some 'thrash anthem'. It is what it is.
"Musical Death (A Dirge)" is an introspective, somewhat depressing, instrumental piece that closes out the album in a somber manner. The opening guitar melodies really dig into your heart, like rusty knives. As it progresses, there's a nice epic feeling as the energy builds toward the climax.
All in all, The New Order is a solid album but it could have been better. As a matter of fact, they left off what would have been one of the best tracks on the record, "Reign of Terror". They recorded this old song, yet only released it as a B-Side for the Trial By Fire E.P. It was a stronger song than most found on the album and could have, easily, replaced the awful Aerosmith cover. The New Order isn't as essential as The Legacy, but it's a fairly safe purchase for die-hard Testament fans.
I initially purchased this album just a few months after their first one. I was highly impressed with it, in the beginning. Again, I wasn't as analytical about everything back then; at least, not until I'd owned something for six months or so. It took quite some time for this album to leave my stereo. However, in the months and years that followed, it would become clear that it simply lacked the staying power that The Legacy possessed.
From the opening moments of "Eerie Inhabitants", you will notice a bit more effort being put forth to create an atmosphere that removes you from the mundane existence that you were cursed to be born into. There are similar pieces, throughout the album, such as the instrumental "Hypnosis" and the first minute or so of "Trial By Fire" and "Disciples of the Watch". For some, these atmospheric melodies hold no value and are deemed little more than 'guitar wankery'. Personally, I disagree with this narrow-minded view.
Regardless of which side of the fence you're on, concerning that issue, there is plenty of intense thrash to satiate your hunger. The first song displays a good balance between straight thrash and the more melodic side. There are flashes of brilliance, reminiscent of their debut album. Side A has very little to complain about, with the exception of the feeling that some parts (a chorus here or there) seem too accessible and generic. The title-track and "Trial By Fire" are guilty of this. The production is still strong, putting the guitars at the forefront where they belong. Eric Peterson and Alex Skolnick are the stars of this album, naturally. Clemente's drumming is fairly basic, but he is consistent enough. Chuck Billy doesn't sound as dark in his vocal delivery, but this is a symptom of that which infects the whole album. Greg Christian, on bass, doesn't appear to stand out too much, though he'd get his opportunity on the following album. He's audible, more or less, but not anything to really devote great amounts of attention to.
On Side B, "Disciples of the Watch" proves to be a very strong track, though the chorus gets a bit tedious, all these years later. Though there are several points during the album where things feel a little too generic or light-hearted, it's the Aerosmith cover song, "Nobody's Fault", that really destroys the momentum of the record. To make matters worse, this was one of two songs chosen for music videos. The only reason this song seems to blend in as it does is due to the relaxed atmosphere that is prevalent on The New Order. As many times as they repeat the word 'sorry', during the chorus, nothing can really salvage the album from the damage done by this song's presence.
The record gets back on track with "A Day of Reckoning". This one turns out to be one of the better songs on here, with a a nice vocal melody in the chorus. This one feels more genuine that some of the others; it's neither designed for radio nor created with hopes of becoming some 'thrash anthem'. It is what it is.
"Musical Death (A Dirge)" is an introspective, somewhat depressing, instrumental piece that closes out the album in a somber manner. The opening guitar melodies really dig into your heart, like rusty knives. As it progresses, there's a nice epic feeling as the energy builds toward the climax.
All in all, The New Order is a solid album but it could have been better. As a matter of fact, they left off what would have been one of the best tracks on the record, "Reign of Terror". They recorded this old song, yet only released it as a B-Side for the Trial By Fire E.P. It was a stronger song than most found on the album and could have, easily, replaced the awful Aerosmith cover. The New Order isn't as essential as The Legacy, but it's a fairly safe purchase for die-hard Testament fans.
(23 June 2009)
Practice What You Preach (1989)
Within a couple months after getting The New Order, I tracked down Testament's third full-length, Practice What You Preach. While it took years for the flaws to become evident in the former, the latter was a little difficult to digest, right from the start. The first thing that I noticed was the odd production, which seemed a little bass-heavy. The overall sound was a bit softer than on previous records, lacking the sharp edge that was present in the past. Through Eric Peterson's desire to gain more exposure and Alex Skolnick's wish to experiment, to a degree, Testament fans were greeted with the black sheep of the early albums. Released in the summer of 1989, just a year after The New Order, it proves that interesting things can happen when bands are in such a hurry to capitalize on their own momentum.
The title-track bursts forth with high energy and great thrash riffs. It's catchy, powerful and makes a pretty decent impression. This one is quite memorable and is easily the best song on here. More importantly, it's good enough that the listener agrees to make an effort toward ignoring the odd production to give the record a chance.
"Perilous Nation" opens with a bass solo, with the rest of the instruments slowly building to join in. Immediately, one notices that the song is based more on the soft vocal melody of Chuck Billy, rather than the guitars. It's not terrible; it's just a little too mellow for the taste of some.
The next song slowly builds up, as Chuck lets loose a fairly deep death metal growl. Once the track really gets going, it becomes apparent that this was quite out of place, as the feeling is far too relaxed for such things. Again, "Envy Life" isn't all that bad. If you're a die-hard Testament fan, it's adequate enough if you can manage to not compare this to their brilliant debut album. The problem is that it is dripping with the fact that this is starving for attention from the masses.
"Time is Coming" maintains this docile pace, while still possessing some decent riffs. Of course, the dark atmosphere found on The Legacy is long-forgotten by this point. Even as "Blessed In Contempt" promises a little more intensity, in its opening moments, it fails to rise above the mediocrity that plagues this record. "Greenhouse Effect" is more of the same.
The beginning of "Sins of Omission" is mostly memorable due to it reminding of some '80s TV theme, like Knight Rider or something. The song is no different than the rest that have been offered up, here. The vocal lines are memorable, but the music remains soft and mediocre.
The pussification of this band reaches its climax with "The Ballad". There are a couple bleak melodies that could have been used elsewhere, but the overall feel of this song is total boredom. As it progresses, there's an incredibly lame section where it all builds up as the lyrics become far too optimistic and weak. The song then speeds up, yet manages to possess absolutely no aggression. Their later attempts at such a song were far more successful than this pile of steaming feces.
"Nightmare (Coming Back To You)" was one of those songs that sounded very familiar from the first listen. Obviously, I'd never heard it before, but it was so generic that I might as well have listened to it a million times already. It's the fastest song on the record, but it still suffers from weak production and songwriting, completely neutralizing any attempt at aggression or fury.
By the time the album reaches its conclusion, with "Confusion Fusion", I can only feel a great sense of relief. This instrumental has a few interesting ideas, but the overwhelming feeling is that of joy at the thought that this abomination is nearly complete.
Despite pandering to the mainstream, Testament could have made a much better album and still accomplished this. Neutering the sound and making it so soft and non-threatening was the first mistake. Including weak ballads and devoting too much of the album to raping the legacy of the band was absolutely unnecessary. They could have used the more melodic approach on a handful of songs and retained enough thrash to please their core fan base. However, dumping 90% of the riffs into the first song (as someone once described it) is never a good idea. Everything is downhill from there. Practice What You Preach is only recommended for rabid Testament fans that want to own everything they put out. It is hardly essential for anyone else. It's not totally worthless, but it's too close for comfort.
The title-track bursts forth with high energy and great thrash riffs. It's catchy, powerful and makes a pretty decent impression. This one is quite memorable and is easily the best song on here. More importantly, it's good enough that the listener agrees to make an effort toward ignoring the odd production to give the record a chance.
"Perilous Nation" opens with a bass solo, with the rest of the instruments slowly building to join in. Immediately, one notices that the song is based more on the soft vocal melody of Chuck Billy, rather than the guitars. It's not terrible; it's just a little too mellow for the taste of some.
The next song slowly builds up, as Chuck lets loose a fairly deep death metal growl. Once the track really gets going, it becomes apparent that this was quite out of place, as the feeling is far too relaxed for such things. Again, "Envy Life" isn't all that bad. If you're a die-hard Testament fan, it's adequate enough if you can manage to not compare this to their brilliant debut album. The problem is that it is dripping with the fact that this is starving for attention from the masses.
"Time is Coming" maintains this docile pace, while still possessing some decent riffs. Of course, the dark atmosphere found on The Legacy is long-forgotten by this point. Even as "Blessed In Contempt" promises a little more intensity, in its opening moments, it fails to rise above the mediocrity that plagues this record. "Greenhouse Effect" is more of the same.
The beginning of "Sins of Omission" is mostly memorable due to it reminding of some '80s TV theme, like Knight Rider or something. The song is no different than the rest that have been offered up, here. The vocal lines are memorable, but the music remains soft and mediocre.
The pussification of this band reaches its climax with "The Ballad". There are a couple bleak melodies that could have been used elsewhere, but the overall feel of this song is total boredom. As it progresses, there's an incredibly lame section where it all builds up as the lyrics become far too optimistic and weak. The song then speeds up, yet manages to possess absolutely no aggression. Their later attempts at such a song were far more successful than this pile of steaming feces.
"Nightmare (Coming Back To You)" was one of those songs that sounded very familiar from the first listen. Obviously, I'd never heard it before, but it was so generic that I might as well have listened to it a million times already. It's the fastest song on the record, but it still suffers from weak production and songwriting, completely neutralizing any attempt at aggression or fury.
By the time the album reaches its conclusion, with "Confusion Fusion", I can only feel a great sense of relief. This instrumental has a few interesting ideas, but the overwhelming feeling is that of joy at the thought that this abomination is nearly complete.
Despite pandering to the mainstream, Testament could have made a much better album and still accomplished this. Neutering the sound and making it so soft and non-threatening was the first mistake. Including weak ballads and devoting too much of the album to raping the legacy of the band was absolutely unnecessary. They could have used the more melodic approach on a handful of songs and retained enough thrash to please their core fan base. However, dumping 90% of the riffs into the first song (as someone once described it) is never a good idea. Everything is downhill from there. Practice What You Preach is only recommended for rabid Testament fans that want to own everything they put out. It is hardly essential for anyone else. It's not totally worthless, but it's too close for comfort.
(25 June 2009)
Souls of Black (1990)
In September 1990, Testament released their fourth full-length, Souls of Black. Recorded in a different studio and produced by a different guy than the previous albums, this one made some corrections to the sound as it had developed on the previous record. The more melodic vocal approach remained, to a degree, though the emphasis was placed back where it belongs with regard to the overall sound; the guitars. In a sense, one could say that this album bears elements from each of its three predecessors while also having an identity of its own.
The title track was my introduction to this band, many years ago. I'd read of the band, but not heard anything. It was late one summer night when I called in to 'The Haunted Mansion' and requested that they toss in some old Testament. For a show that specialized in black, death and doom metal, it was a little difficult to make a proper segue into thrash, but as Obituary's "Chopped In Half" faded out, I heard the sound of thunder that would lead into "Souls of Black". Despite being rather mid-paced, it was memorable enough to get stuck in my head and give me cause to go searching for Testament albums, first running across The Legacy. It took me until October or November to get my hands on this one, and it was certainly worth the wait.
The intro, "Beginning of the End", is a brief acoustic bit that serves a an adequate lead-in for the first real song, "Face in the Sky". As it begins, the pace is still more relaxed, similar to the previous album, though the delivery is far more energetic. Skolnick's lead work is on target, as well. The guitars sound a lot stronger than they did on Practice What You Preach, while the drums and bass aren't anywhere near as annoying as on that one. The guitars have a bit of an edge to them, again, which makes all the difference in the world.
The pace picks up a bit with "Falling Fast". Throughout this album, there's somewhat of a dreary feeling, similar to that felt on a cold and rainy day. Even as the songs speed up and give off a little more energy, everything remains laced with a somber sentiment. The reverb on the vocals gives some distant, ethereal quality, but never overpowering the guitar riffs.
As the thunder roars and a brief bass line rolls forward, the title-track lumbers forth. This is a mid-paced affair, though extremely memorable with regard to both vocal and guitar melodies. Of course, the solo is one that will pierce your skull with great ease. It's a fairly simplistic song, but sometimes less is more. The next track, "Absence of Light", follows a similar pattern.
"Love To Hate" sees the pace pick up, at times. Of course, the days of The Legacy are long-gone, but it's enough to provide the necessary variation for the album. It is here that some of the lead techniques found on The New Order seem to be employed with greater success, blending well into the piece as opposed to being somewhat detached. As with the rest of the record, the vocals and guitars share the responsibility of providing memorable melodies.
The intensity increases, if only by a slim margin, for "Malpractice". This may have something to do with the motivation behind the lyrics for this one. From the first verse, one can sense the frustration and anger. Even two decades ago, it was clearly evident that the medical establishment is nothing more than a joke. It is a business, like any others. Hiding behind false sentiments of wanting to help those in need, the truth is that these butchers care for nothing but the almighty dollar. Chances are, they'll do more damage than good as a sort of job security. Most anyone should be able to identify with the lyrics, here.
"One Man's Fate" opens with an ominous feeling, assisted by the sweeping arpeggio riffs that Testament are well known for. This one keeps up the pace of the previous song, alternating between faster moments and more relaxed ones. As with the album as a whole, this possesses more of an organic feeling, as the riffs seem to have more room to breathe than in the past. The incredible solos compliment the song well. The tone seems to get a little darker, working well to blend into the mood of the song that follows.
Testament's previous attempt at a ballad yielded horrid results. However, "The Legacy" is a powerful piece of music, eliminating the flaws from previous attempts and delivering something far superior. This record truly possesses an autumnal feeling, in some sense. Perhaps this is due to the fact that I obtained it during the season of dying, but there seems to be some somber tone that is ever-present throughout the recording, similar to the feel of feeling the cold autumn winds chill you as the naked trees stood as claws against the grey sky. This song is very introspective and poignant, possessing a lot of feeling. Chuck Billy's vocal performance is top notch and the guitar melodies slither through your being, injecting venom into your very soul. There is a strong epic sense, here, almost giving the feeling that life is soon to end.
Before you are able to take that final plunge, "Seven Days of May" gives a much-needed does of adrenaline. Like a second wind, it enables you to continue on when, moments earlier, you were prepared to lay down and expire. This one is filled with energetic thrash riffs, though never reaching a frenetic pace by any means. The only way to really describe it is to say that it sounds like Testament. This could never be mistaken for anyone else, as their sound was well-defined by this time.
Technically speaking, Souls of Black may not be the best Testament album, though it's probably my second-favourite one (after The Legacy, of course). Perhaps, it is the result of sentimental reasons, or maybe it's simply because the album is very strong and consistent. Often times, this one is forgotten, but it stands as the final record from the band's classic era. There would be one more release with the original line-up, but that one is quite removed from their earlier output, stylistically. This is highly recommended.
The title track was my introduction to this band, many years ago. I'd read of the band, but not heard anything. It was late one summer night when I called in to 'The Haunted Mansion' and requested that they toss in some old Testament. For a show that specialized in black, death and doom metal, it was a little difficult to make a proper segue into thrash, but as Obituary's "Chopped In Half" faded out, I heard the sound of thunder that would lead into "Souls of Black". Despite being rather mid-paced, it was memorable enough to get stuck in my head and give me cause to go searching for Testament albums, first running across The Legacy. It took me until October or November to get my hands on this one, and it was certainly worth the wait.
The intro, "Beginning of the End", is a brief acoustic bit that serves a an adequate lead-in for the first real song, "Face in the Sky". As it begins, the pace is still more relaxed, similar to the previous album, though the delivery is far more energetic. Skolnick's lead work is on target, as well. The guitars sound a lot stronger than they did on Practice What You Preach, while the drums and bass aren't anywhere near as annoying as on that one. The guitars have a bit of an edge to them, again, which makes all the difference in the world.
The pace picks up a bit with "Falling Fast". Throughout this album, there's somewhat of a dreary feeling, similar to that felt on a cold and rainy day. Even as the songs speed up and give off a little more energy, everything remains laced with a somber sentiment. The reverb on the vocals gives some distant, ethereal quality, but never overpowering the guitar riffs.
As the thunder roars and a brief bass line rolls forward, the title-track lumbers forth. This is a mid-paced affair, though extremely memorable with regard to both vocal and guitar melodies. Of course, the solo is one that will pierce your skull with great ease. It's a fairly simplistic song, but sometimes less is more. The next track, "Absence of Light", follows a similar pattern.
"Love To Hate" sees the pace pick up, at times. Of course, the days of The Legacy are long-gone, but it's enough to provide the necessary variation for the album. It is here that some of the lead techniques found on The New Order seem to be employed with greater success, blending well into the piece as opposed to being somewhat detached. As with the rest of the record, the vocals and guitars share the responsibility of providing memorable melodies.
The intensity increases, if only by a slim margin, for "Malpractice". This may have something to do with the motivation behind the lyrics for this one. From the first verse, one can sense the frustration and anger. Even two decades ago, it was clearly evident that the medical establishment is nothing more than a joke. It is a business, like any others. Hiding behind false sentiments of wanting to help those in need, the truth is that these butchers care for nothing but the almighty dollar. Chances are, they'll do more damage than good as a sort of job security. Most anyone should be able to identify with the lyrics, here.
"One Man's Fate" opens with an ominous feeling, assisted by the sweeping arpeggio riffs that Testament are well known for. This one keeps up the pace of the previous song, alternating between faster moments and more relaxed ones. As with the album as a whole, this possesses more of an organic feeling, as the riffs seem to have more room to breathe than in the past. The incredible solos compliment the song well. The tone seems to get a little darker, working well to blend into the mood of the song that follows.
Testament's previous attempt at a ballad yielded horrid results. However, "The Legacy" is a powerful piece of music, eliminating the flaws from previous attempts and delivering something far superior. This record truly possesses an autumnal feeling, in some sense. Perhaps this is due to the fact that I obtained it during the season of dying, but there seems to be some somber tone that is ever-present throughout the recording, similar to the feel of feeling the cold autumn winds chill you as the naked trees stood as claws against the grey sky. This song is very introspective and poignant, possessing a lot of feeling. Chuck Billy's vocal performance is top notch and the guitar melodies slither through your being, injecting venom into your very soul. There is a strong epic sense, here, almost giving the feeling that life is soon to end.
Before you are able to take that final plunge, "Seven Days of May" gives a much-needed does of adrenaline. Like a second wind, it enables you to continue on when, moments earlier, you were prepared to lay down and expire. This one is filled with energetic thrash riffs, though never reaching a frenetic pace by any means. The only way to really describe it is to say that it sounds like Testament. This could never be mistaken for anyone else, as their sound was well-defined by this time.
Technically speaking, Souls of Black may not be the best Testament album, though it's probably my second-favourite one (after The Legacy, of course). Perhaps, it is the result of sentimental reasons, or maybe it's simply because the album is very strong and consistent. Often times, this one is forgotten, but it stands as the final record from the band's classic era. There would be one more release with the original line-up, but that one is quite removed from their earlier output, stylistically. This is highly recommended.
(27 June 2009)
The Ritual (1992)
Released in May 1992, The Ritual is the fifth full-length album from Testament. This record marked a change in the musical style of the band, leaving behind their thrash metal roots in favour of a more melodic and slower heavy metal sound.
I used to consider this L.P. as Testament's answer to Metallica's Black Album but it was actually already being recorded before that one was released. Still, the similarities between the two are certainly there, as well as with Megadeth's Countdown to Extinction. For one reason or another, after thrashing their way through the '80s, these bands sought to slow things down and return to their roots in a sense. One big difference here is that Metallica were clearly trying to incorporate stadium rock into their sound (and Megadeth were actively trying to follow their lead), whereas Testament just made a solid record of traditional heavy metal.
When I first picked up a cassette copy of The Ritual, I didn't know what to think. It was a bit shocking, especially since I was hoping for more great thrash as on The Legacy. Nevertheless, the excellent songwriting grew on me over time. There are a lot of really good riffs throughout the album and Chuck Billy does very well to adapt his vocal style to the material. The most well-known song from this album is also the weakest one, "Return to Serenity". It does pick up around the middle of the track with an excellent lead solo, but the rest of it goes a bit too far in the wrong direction and is just too soft. The title track is nearly as subdued but works a lot better. As opposed to a record like Practice What You Preach, The Ritual is filled with interesting ideas and the whole thing flows very well (other than the lame ballad). The production is fairly good and works for the style, giving the songs a heavy sound that isn't as clear and sterile like Countdown to Extinction.
Overall, The Ritual is an enjoyable heavy metal album and Testament's last to feature the original lineup. As long as you go into it knowing what to expect, rather than hoping for more classic thrash, this is definitely worth hearing. Standout tracks include "Electric Crown", "Agony" and "Troubled Dreams".
I used to consider this L.P. as Testament's answer to Metallica's Black Album but it was actually already being recorded before that one was released. Still, the similarities between the two are certainly there, as well as with Megadeth's Countdown to Extinction. For one reason or another, after thrashing their way through the '80s, these bands sought to slow things down and return to their roots in a sense. One big difference here is that Metallica were clearly trying to incorporate stadium rock into their sound (and Megadeth were actively trying to follow their lead), whereas Testament just made a solid record of traditional heavy metal.
When I first picked up a cassette copy of The Ritual, I didn't know what to think. It was a bit shocking, especially since I was hoping for more great thrash as on The Legacy. Nevertheless, the excellent songwriting grew on me over time. There are a lot of really good riffs throughout the album and Chuck Billy does very well to adapt his vocal style to the material. The most well-known song from this album is also the weakest one, "Return to Serenity". It does pick up around the middle of the track with an excellent lead solo, but the rest of it goes a bit too far in the wrong direction and is just too soft. The title track is nearly as subdued but works a lot better. As opposed to a record like Practice What You Preach, The Ritual is filled with interesting ideas and the whole thing flows very well (other than the lame ballad). The production is fairly good and works for the style, giving the songs a heavy sound that isn't as clear and sterile like Countdown to Extinction.
Overall, The Ritual is an enjoyable heavy metal album and Testament's last to feature the original lineup. As long as you go into it knowing what to expect, rather than hoping for more classic thrash, this is definitely worth hearing. Standout tracks include "Electric Crown", "Agony" and "Troubled Dreams".
(20 Apr. 2025)
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