Review Summary: Flotsam and Jetsam storm into 2021 by unleashing one of their best albums to date.
Despite never having achieved neither the popularity of the Big Four nor the notoriety of bands such as Testament, Exodus, or Overkill; Flotsam and Jetsam have always been a highly respected brand within the thrash scene. Their 1986 debut,
Doomsday for the Deceiver, was greeted with overwhelming enthusiasm, even getting a 6K rating (out of 5) from Kerrang magazine, which considered the Arizona band as the next big thing to spawn from the unstoppable thrash avalanche. Although I didn't listen to the album until a few years later, I still remember the day I first heard it with a now-deceased friend. Even if I wasn't overly enthusiastic about it, the colossal opener, 'Hammerhead', and Jason Newsted's amazing bass work stuck in my head for quite a while. James Hetfield and Lars Ulrich must have felt something similar since they recruited Jason into their ranks after Cliff Burton's death.
The extemporaneous departure of the founding bassist did not prevent Flotsam and Jetsam from releasing two years later the acclaimed and fan-favorite
No Place for Disgrace, which was not only a worthy successor to the debut but for many even surpassed it for its consistency and greater maturity. These first two releases are the band's quintessential works, which subsequently got into a creative mess as they tried to fit into the nineties, now focused on grunge and more alternative aesthetics. A bewilderment unfortunately common to many metal bands that sank into an out-of-character limbo during this decade. Except for a few good songs here and there and
The Cold, which was an exception to the rule, the band would not find themselves again until many years later with 2016's triumphant self-titled album.
Flotsam and Jetsam showcased a revitalized collective, much due to the arrival of new guitarist Steve Conley who managed to bring new enthusiasm and energy to the mix, simultaneously helping to awaken the almighty Flotzilla in the subsequent
The End of Chaos, a solid follow-up that attested to this new rejuvenated cycle.
Written by Steve Conley immediately after the
The End of Chaos' sessions, the opener/title track not only bridges with the previous release but serves as a perfect introduction to the album. Orbiting ferocious riffs and a powerful catchy chorus, 'Blood in the Water' splendidly mirrors the straightforward thrash side of the band, reminiscent of songs like 'Hammerhead' or 'Dreams of Death'. The way Eric's superior vocals swing through the relentless instrumental assault has always represented the best Flotsam and Jetsam have to offer. And this track hits all the right spots.
Blood in the Water couldn't have got off to a better start, catapulting us into a ride that, despite its different speeds, never loses intensity. All songs have a life of their own, as independent identities, representing the many faces of the band. If tracks like 'A Place to Die' and 'The Walls' have a certain closeness given their Maiden-esque galloping riffs and emotional choruses, songs such as 'Cry for the Dead' or 'Seven Seconds 'til the End of the World' possess enough contrast to distance them from the opener or 'Grey Dragon', for example, which represent the band's more straightforward approach. The closing track is even the album's biggest surprise for its more challenging composition, somewhat reminiscent of Lillian Axe (Psychoschizophrenia era).
There is a strong sense of balance and flow throughout
Blood in the Water, allowing the listener to never run aground on the same shore twice. 'Too Many Lives', with its early-Metal Church meets King Diamond approach, or the Anthrax-ish 'Undone', are another example of different angles converging towards the same creative goal. This polychromy results not only from strong creative direction but also from appreciable musical maturity. Like a fine red wine, Eric A.K.'s vocals continue to be the highlight along with the guitars of Michael Gilbert and Steve Conley. Without belittling the super solid rhythm section, this trio is the sonic foundation through which the entire collective orbits, and the main reason for my enthusiasm towards these metal veterans. I would even dare to say that Eric A.K., despite his fifty-six years of age, is surely still one of the best singers within the genre.
Flotsam and Jetsam storm into 2021 by unleashing one of their best albums to date. Its flow, consistency, and overall quality catapult
Blood in the Water into a niche of its own, where melody and aggression harmoniously coexist as a single organism. And although stylistically it doesn't bring anything new, its tasty songwriting and engaging highlights should be cherished, as they mirror one of the best formulas the genre has to offer.
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