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).
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