Album Review: Testament - Para Bellum

Testament - Para Bellum

Nuclear Blast Records - 2025

7/10

In my little streak of tackling old-guard thrash metal bands in the modern age, there seemed no better time to return to one of my favorite ones, despite letting me down back to back in 2016 and 2020 respectively. Like their Bay Area counterparts in Exodus and Megadeth, my bias sees them trudging on a bit past expiration. Admittedly, Para Bellum felt like a clear step up from what was going on in the previous two generic reruns, but upon revisiting, I still don't think it holds the weight that seems to have taken many a fan by storm. Nonetheless, if there's one sin I can't call it guilty of, that's it being a samey generic effort of repetition.

Indeed, Titans Of Creation did tamper with blackened experimentation, primarily in the vocal shrieks that become a tad more prominent this time around. However, blast beats and tremolo picking even up the ante a little bit. True, the former have been present in Testament songs in the past, but they take on a completely different role this time, which kind of realizes the aim that ultimately did little on their last record. Nothing is held back, as that makes itself evident immediately on opener "For The Love Of Pain," and "Witch Hunt" takes this to a faster front. The closing title track nears this territory too, though it's probably closer to the death metal influence that has long been a staple for Skolnick and co. Neat as this all may be, I think I can conclude that Testament isn't quite made for black metal, as it just makes me want to listen to actual black metal bands.

There is still lots of room for no-frills thrash fueled by societal strain, which I think found its meanest footing in "Infanticide A.I.," managing to lash back at this dystopian-gone-normal concept in a way that doesn't feel forced. Similarly, "Shadow People" casts a compelling net of equal parts compelling melody and crushing fury, taking the slot of my favorite track. But for every one of these, there's a generic by-the-numbers tune that feels empty, mainly looking at "High Noon," and "Nature Of The Beast" (as if "Black Jack" wasn't corny enough). "Room 117" could probably grow on me, as it has a charming flow and catchy vibe that doesn't fit but certainly isn't bad, as could "Havana Syndrome," which feels like filler that still works really well?

With all of this inconsistency going on, I have to also at least give Para Bellum props for having the audacity to sneak a ballad into this mix. Not just any ballad, but a long, drawn-out acoustic one in "Meant To Be." Softee Chuck Billy is an overlooked aspect of Testament that I am so glad made a comeback, even if this hardly fits in the context of the already jumbled record. A win is a win, and even in his old age the melancholic and emotional gradient is ever present, casting an epic build in the midst of chaos.

Therefore, giving credit where it's due, this is easily Testament's best work in over a decade. Like many in their scene, the bar isn't exactly set that high, but I can't pretend that there a couple songs here that made an impression on me. The album as a whole isn't remarkable, but the sheer boldness and ambition behind it is worth commending. Walking away with a few songs that actually stick is nice as well, and I can confidently say that this would be a hell of an album to end a long career on (so ya know, take the hint, guys).

Album Review: Exodus - Goliath

Exodus - Goliath

Napalm Records - 2026

6.5/10

Right from the gate, I need to make it clear that I've had little time for or interest in anything Exodus has put out since Shovel Headed Kill Machine. Perhaps a controversial statement to call that one the end of a transitional era that started with Force Of Habit, everything following it has ranged from competent but uninspiring to outright bad, regardless of the frontman. So hearing that the Bay Area giants have re-recruited Rob Dukes for another record really didn't curate much excitement on my part. In fact, I went into Goliath with a pretty negative mindset alone.

And while I still don't particularly care for this record as a whole, I'm amazed to say that it actually did strike a few chords and wound up being something I consider at least worth acknowledging. After the long break, Dukes' vocals somehow sound more refined in his older age, feeling like a middle-ground between his former overdone shrieks and Zetro's signature snarl. Along with this, we find a little bit more focus that may just allow for a catchy number here or there, or at least one that feels somewhat engaging. For the most part, that lies with the ones that dial back the over-the-top aggression, likely just feeling more original, rather than the continuous rehashing of overproduced thrash by-the-numbers.

Unfortunately, that latter point is still all over the place. What really doesn't help is that buzzing tone that has plagued Exodus's riffs for the better part of two decades now. Similarly, they're still unable to escape overly try-hard, almost goofy lyrics that I can't believe came from people pushing sixty. "Hostis Humani Generis" definitely comes to mind first, and even as much as opener "3111" is an earworm, I really struggle to take its general plastic feel seriously (did anybody else hear the "111" as "world war one" on first listen?). I can appreciate the title track for taking a doom-laced approach in such a slow tempo to match the titan-like vibes, but it ultimately trudges on and leads nowhere. I could say the same about "Summon Of The God Unknown" as well, being far too long for its own good despite its obvious attempt at an (imminent) impact, and the delivery almost feels robotic.

On a more positive front, a couple songs help Goliath stand apart from other modern era records. "The Changing Me" feels like a true mosh anthem without it being obvious, and the thunderous bass and higher licks definitely help it. I'll throw it props for breaking precedence in the melodic chorus without being awkward. Speaking of melody, "Promise You This" is a nicer tune that cakes in plenty of that, allowing some older attitude to sneak in beside one of Gary Holt's best solos on the album. "2 Minutes Hate" has a groovy stomp to it that matches the refined vocal style quite well despite, you guessed it, my inability to take it very seriously. Beyond this, despite some decent licks near the end, I find myself tired of the album and its generic overcast by the time I reach the last few songs.

In the way I feel about the final Megadeth album, this isn't anything overly bad or worth scoffing at, but I have long reached the point of not wanting more from Exodus (even though I ever-so-slightly prefer this record to Megadeth). It certainly didn't need to exceed the fifty minute mark, but if this were the album the band went out on, I would say it could certainly be worse. Better than either Exhibition album, but that's a low bar. My biases are clear, and regardless of yours, I say tread lightly. 

Album Review: Dokken - Under Lock And Key

Dokken - Under Lock And Key

Elektra Records - 1985

9.5/10

1985 has to be one of my favorite years for metal, if only because it was around then when all the late '70s and early '80s so-called "VHS metal" bands were spreading from their general heavy metal sleaze and adapting a more defined sounds. Dokken are such a fun example of this, as they heavily hinted at a warmer sound under the accessible yet thunderous scope in Tooth And Nailed, and leaned even deeper into the glam metal sensation without ditching the riffs, big solos, or attitude. George Lynch and co. long established their ability to even craft a ballad that doesn't drift from the roots in "Alone Again," so it only makes sense that they could spruce up the same idea and double down with MTV pop sensation while continuing to bring the weight. Perhaps less of a hot take now than it would have been a decade ago, Under Lock And Key is just as powerful, if only more accessible, and is pumped with just as much life as its heavier counterpart.

On the surface, all this really means is putting a little more of the catchy emphasis on the choruses, making them easy enough to sing-along to and become an earworm, while crispening up the production just a tad. If there's really one fundamental difference between the prior record and this one, it's the latter point. Indeed, the raw grit that came with some of the speed oriented tracks is void this time around, giving Dokken's overall vibe a welcoming aura, but less mean doesn't always mean less heavy, and it certainly doesn't signal a drop in quality. The fact is, every track still works wonders beside one another regardless of the varying degrees of hairspray being applied.

This becomes evident immediately. Opener "Unchain The Night" is one of the band's most iconic songs for good reason. Despite its melodic core and falsetto-laced chorus, that rhythm section has loads of crushing bite, and the clearer coating may even let the harder drumlines that carry it pop even more. "Lightning Strikes Again" comes through in a similar manner, hearkening back to the speedier elements that Dokken is no stranger to, doubling down with furious falsetto outbursts as the song sees itself out. On a similar note, "Til The Livin' End" caps us off with almost Dimebag-esque fret-crawls not uncommon on Pantera's I Am The Night, acting like a part two to "Lightning Strike Again."  Hell, even as much as one could quickly dismiss the gang-chant corniness of "It's Not Love," it fits flawlessly into the bassy slow crawl and heavy backing. Full-fledged heavy hitters like this may be lesser in number, but their influence permeates the rest of the disc, and that consistency is crucial.

That very fact is why I'll urge you to observe the more "obvious" numbers with the same lens. "In My Dreams" screams pop-metal with Def Leppard coated radio rockisms all over it, but even if you don't like the incredibly catchy hooks that make its chorus so huge, one cannot ignore the gigantic solo and the riff-resolve that contrasts a nice crunch beside the synths. Similarly, "Don't Lie To Me" is an overlooked backside of this that I think utilizes the poppy chorus just as well with vocal trade-offs, even if the energy doesn't feel quite as mighty. Of course, I can't not mention "Slippin' Away," as it's very clearly a softee through and through, but beautiful composition under more genuine emotion lets its place beside "In My Dreams" feel so organic. I get why our heavy hunters may not like this one, but I don't think it feels out of place, and I love every minute of it (maybe it's because I too am a softee). "Will The Sun Rise" might just be this tune's counterpart, acting as an acceptance of the situation and curating a hopeful feeling on a somber, early morning.

The only factor holding Under Lock And Key back from double perfection is that its fillers are just a little less memorable than I'd like. "Jaded Heart" and "The Hunter" are not bad songs by any stretch of the word; the former seems to attempt an acoustic-driven repeat of "Alone Again" but sadly misses the same fervor. The latter is a decent sing-along that I dig well enough, but I'd be lying if I said I don't wind up coming off the energy of "Unchain The Night" just looking forward to hearing "In My Dreams." Regardless, if these are the worst songs on an album, then you've struck gold.

Under Lock And Key is full of bangers that landed big in LA with a fitting, overlooked counterpart, all wrapped up into one consistent ride full of fun, both heavy and hearty. If there's one reason why Dokken has such a heavy association with the glam metal world, I owe it to this record. Synths, clear production, and catchy choruses are all over the place, but I think it compliments the heavier foundation, rather than taking away from it. If I can be crass for a moment, it's like realizing that your partners sex toys are your friend, not your competition. Get out of your head and into your body, mate!

Album Review: Bathory - Bathory

Bathory - Bathory

Black Mark Productions - 1984

8.5/10

When analyzing the early output of a band that would go on to define an entire genre, it's easy to immediately mark their debut as the best of the craft, especially when it sort of ties together the ingredients that were hinted at by earlier acts. Giving credit where it's due, Kill 'Em All, Scream Bloody Gore, and other genre-cementing albums do indeed contain the fervor of precisely what made the genre so wonderful. Despite obvious evolution in Metallica and Death respectively, there's absolutely no question that their debuts are still some of the best in their genres, at least in my humblest of opinions. Sweden's Bathory is different, because in a weird kind of way, that very evolution was what was needed to bring them to the top of their own craft. Maybe part of it is the fact that similar first-wave black metal bands were doing precisely the same thing that was found on their debut album, but the fact is I still wouldn't rate many of them much higher than this, so what's the scoop?

All of this is relevant because, whether I want to admit it or not, Bathory isn't as special as I had thought for so many years, and I say that as someone who absolutely adores this record. In less than a half hour, taking the form of eight tracks, the Swedes have crafted one of the most unsavory, grating sounding albums that anyone had heard at the time, chock full of degraded thrash metal riffing and solos. Vocally, Quorthon matched the energy with an equally rusty surface channeled through a nasally passage that, while in a vacuum isn't exactly pleasant, beside the music feels right. Without casting a darkened atmosphere through mixing and mastering, they instead created a life-crushing feeling through already existing extreme metal in what I imagine is circumstance. They simply didn't have the capital to clean anything up, so the end result was one of the most raw experiences that still captures the exact feeling I want when I pull this disc out; I can't hear it without feeling like I'm in an abandoned toolshed full of rust, metal chips, oil, and sharp objects with no lights to help me avoid these things.

The downside of such a dark and dirty excursion is that standouts are rare, a problem that early death and thrash outings didn't usually have. Many of the solos get pretty buried under the noise of breakneck riffs and blasting drums, adding to why I listen to this for the feeling rather than the chops. That doesn't mean there aren't exceptions to the rule. Indeed, when the tempo calms itself a bit, you can get the mildest gleaning of light at the end of the tunnel. "Necromansy" comes to mind, with its steadier rhythms and competent playing that still captures the hopeless imagery of being trapped in a rusty machine shop in the middle of a goat pen (Black Phillip, is that you?). I also must throw a nod to "Raise The Dead," since I think this is the biggest hint of the full, genre-defining black metal shape that Bathory would take in a few years. Its steadier drum-crushes and longer, drawn-out vocal snarls invoke an evil aura that blows anything else on this record out of the water.

Otherwise, it's a matter of picking your poison. "War" is compelling because of how mean it sounds, but is equally repetitive and unremarkable outside of the vibe that insulates it. "Reaper" seems like lots of fun, and like "Sacrifice," it at least has some clarity in the guitar solos. But taken bit by bit, Bathory isn't really anything more than what their first-wave contemporaries in Venom, Hellhammer, or early Sodom were doing. It just happens to project a rougher realization than their peers, and would soon evolve into what I call the black metal equivalent of Metallica; being in the right place at the right time likely helped so much in that regard. Thankfully, due to its short runtime and general craft that few bands have been able to replicate, I appreciate every corner of it, with all of its flaws and overlooked redundancies.

Album Review: Grotesqueries - Vile Crematory

Grotesqueries - Vile Crematory

Caligari Records - 2023

9/10

I stumbled upon Grotesqueries via one of my favorite labels several years ago, though their demo stage didn't do a lot for me. It wasn't until the following year when Caligari also released their first full-length, which felt far more complete in execution (naturally). A one-man show out of Boston, this gore-obsessed project quite swiftly crafted a to-the-point but compelling debut in the form of Vile Crematory, one I find myself coming back to somewhat regularly. The album art alone with its colors should easily catch the eye.

For one, Grotesqueries absolutely nails that perfect balance of crafting something ugly and marshy while still preserving some semblance of a clean surface. Similarly, this dodges anything I'd really call technical while still managing to craft longer songs that use repetition to their advantage, aided with extremely sturdy bridges. All of this molds wonderfully with the vocals, which have a gruesome snarl under the already guttural style, trading this out for the occasional shriek. The end result is something that feels like an original sounding ode to the Florida scene in combining aesthetics used both by Cannibal Corpse and Morbid Angel; the blood and filth lyrical content of the former meeting the undeniably evil veneer of David and Trey.

All of this means little if it the songs themselves hold little weight, but Vile Crematory absolutely nails this. The eruptive feeling achieved with the huge drums and crushing weight of the riffs makes for some of the meanest death metal songs I've heard in a while. "Corpsejuice" is a go-to because of its relentless gradient utilizing minimal tactic, which falls wonderfully into the intro of "Gorrified (The Ageless Malignancy)" and its thunderous bass. Longer tunes like closer "Dismembered Fears" and the opening "Hypnagogic Transmutation" that work in several phases with extremely tight bridges and loads of groove might be the best songs. Similarly, doom/death lovers could get something from the trudges of "The Dweller's Threnody," or for the opposite effect, the body-horror stench and chaos of "Meat You With Chain" brings an energy not felt elsewhere. The latter tune just barely hints at a cosmic feel on the back half, which I appreciate.

Frankly, I'm not sure why it took me so long to talk about this record. It sold me upon first listen back when it came out (maybe I was on a break from reviewing), and I think any seasoned death metal fan will get something out of it as well. Rarely does something so rudimentary in format land such a hard blow, but I'll be damned if the mastermind here didn't create a unique identity, and the standout vocals absolutely help. Talk about music that sounds as cool as the artwork looks.

Album Review: Sadistic Force - Midnight Assassin

Sadistic Force - Midnight Assassin
Goat Throne Records - 2023
9.5/10

At the start of the decade, Texas's Sadistic Force made a decent impression on me with their straightforward black/thrash sound that was nothing special but nonetheless strong. At minimum, they knew how to have fun and not take it too seriously. This evolves heavily on the band's follow up three years ago now, titled Midnight Assassin. Not only does that fun angle morph into a more horror-oriented image, but the sound itself cements into something a visibly more notable.

The band has always had an ear for crafting something catchier, and this time around it's done in a way that's more concise but not necessarily cleaner. Longer songs with shifts in tone and higher emphasis on lead guitar prowess dominate more of the record, trading the otherwise catchier but less-involved approach for tighter tunes that feel just as mean. Thus, we get a combo of strong choruses that mesh well with muscular tangents, avoiding any awkwardness. Frankly, I have to throw them props for not simply leaning heavier into the black metal side of things (a decent but sometimes predictable evolution) and calling it a day, but actually coming from a more intricate thrash metal approach.

Of course, this doesn't mean that Midnight Assassin isn't full of harsh shrieks, pummeling drums, and a horrific overlay; it just manages to work in several facets. "Corpsewood Curse" makes this known right away, fusing horror aesthetic with advanced leads that jump all over the place, presenting the album's longest tune. Similarly, "Marked For Death" takes a calmer approach to work a menacing stomp into the narrative, even including acoustic guitars for some flair, while the title track covers us in tremolos and breakneck speeds to trick us into the otherwise steadier march. Fear not, as there's still room for more straightforward blackened speed metal that the band made their name from. "Speeding Black Leather Hell" should tell you what you're in for just based on the title alone, served with gang chants and straightforward rhythms, but even the solo here curates a dramatic shift that caught even me off guard. Hell, "Nuremburg Nights" lets in what almost feels like a Motorhead-inspired black 'n roll vibe to pair with the macabre lyrics, and again, I really can't get over how well all of this works together.

It may still be tough to call Sadistic Force overly original, but having an identity separate from the larger scene is absolutely something they've nailed with their second full-length. A multi-faceted approach in the black/thrash realm is one of my favorite things to come by, and the Texans have done it. Beneath the noise sits layers of borderline classic tints that one could trace back to the first wave if they wanted to. Fans of Hellripper, Witchery, Bewitched, and the likes should seek this one out.

Album Review: Judas Priest - Angel Of Retribution

Judas Priest - Angel Of Retribution

Epic Records - 2005

8.5/10

Long past the classic era, Judas Priest would enter the new millennium in uncertainty. Dropping something as game-changing as Painkiller only to completely shift directions with a different vocalist and everything was sure to generate a liminal "space between space" era that likely felt directionless at the time. For that, I can only imagine what it must have felt like for the longtime fan when Angel Of Retribution was released in 2005. In a vacuum, one wouldn't be able to tell that this modern take on the 1990 style would go to define their career even two decades later, thus I can only imagine it was nothing short of exciting. Folks, welcome to the start of what I call the "comeback" era, one that never truly ended.

Consisting entirely of the classic lineup (minus drums, as those were never that consistent), Judas Priest very clearly set a stage that attempts to pick up where they left off fifteen years earlier, almost dismissing the Owens albums as in-betweener side gigs. I say this only because Angel Of Retribution takes virtually nothing from them, skipping all of the '90s-isms that coated those records. Instead, they arguably strip things back the other direction in a musical sense, trading bombastic and crunchier production for softer clarity. This forgiving atmosphere does not take away from the heaviness of a decent number of the songs, but rather just dulls their tips. Inject a refreshing punch to the songwriting, with its focus on hooks, emotion, and drive, and you've got what was quite unique for its time.

In other words, 2005 was several years before the traditional metal revival that came to dominate a new generation of bands, and the dual-axe veterans were ahead of the curve they themselves influenced. Almost nothing is overzealous, channeling that "we're still young!" energy into several memorable moments. For one, "Hellrider" almost encapsulates the band's entire vibe with one longer, eccentric vibe, while opener "Judas Rising" channels the same energy into a far faster and blunt impression with machine precision. It may come off as a bit on-the-nose, but I think they were pretty self aware of what they were doing. If you had any doubts, "Deal With The Devil" follows it up with a steadier kick, completing the one-two punch we all love to see on efforts like this.

The few times Rob and co. step away from safety land pretty nicely, with only one exception. Perhaps a hot take, but closer "Lochness" absolutely did not need to be thirteen minutes long, and the constant, repetitive pinch-harmonics make me dislike it enough to hold the entire back a notch; never mind the fact that "Eulogy" would have been a perfect closer, keeping the overall runtime breezy too. Otherwise, the other breaks from this traditional norm fit right in. "Angel" is one of my favorite songs of this era, a masterful ballad built on wailing emotion, with slow build utilized by the drums before unleashing a heavier sendoff. Similarly, while nothing exceptional, I appreciate "Revolution" for incorporating doom-riffage to add personality to the traditional formula, and even its follow-up "Worth Fighting For" has a sneaky edge to its somber tone.

In hindsight, Angel Of Retribution isn't overly special, and Firepower will always be my number-one pick from the "comeback" era, but I still find so much charm in this. It was unique for the time, it breathed new life in what the band had already crafted for themselves, and perhaps best of all, even their peers weren't doing the same thing. Iron Maiden had moved on to longer, progressive epics as the norm; Scorpions had fallen entirely into the pop/alt rock realm; Black Sabbath was basically non-existent. With its corny fillers and mild flaws, this record is a force to be reckoned with, and returning to it is always a pleasant time.