Review Summary: Social Justice on demand
If Testament’s first two albums served as reflections of one another, then Practice What You Preach represents the band jumping into the next phase of its development. The occult lyrics and aura have been replaced by political themes that had gotten common with other thrash groups and the songwriting prioritizes more steady riff work and melodic hooks instead of the faster bashings of old, never quite going into groove metal but almost predicting it in a way. To use Metallica terms, this album feels almost like the missing link between Master of Puppets and …And Justice for All.
Of course that Justice comparison is comically undermined by how domineering the bass gets throughout this release. Bassist Greg Christian always had a solid presence on albums past but is pushed to the forefront, always heard with thick bouncing chugs alongside the guitars and even leading the charge with intros on songs like Perilous Nation. It’s the sort of production quirk that some could find obnoxious but I’ve always found that it gives the album a more distinct character.
The other members also work to tighten up their performances, as the beefy yet echoing production supports the more mid-tempo riffing and the vocals demonstrate even more control with a greater emphasis on level mid-range lines. However, I must admit that there might be times where it’s a little too controlled for its own good. This is perhaps best demonstrated by a track like “Envy Life,” which falls short of its catchy aspirations due to the rather stiff instrumentation and monotonous vocals. I must admit that the album repeats a notable flaw from The New Order, losing some of its momentum toward the end.
On the bright side, there are still some pretty good songs to work with here. The title track is easily one of the band’s catchiest songs and arguably one of the best thrash anthems, combining it’s more upbeat pace with the album’s most engaging vocal lines and some strong guitar/bass hustle. “Time is Coming” and “Blessed in Contempt” also do well to balance their catchiness with the more solid musicianship. I also enjoy “Sins of Omission,” it may not a particularly speedy number but I appreciate the much harder hitting riffs and more urgent vocals.
Of all the albums in Testament’s discography, Practice What You Preach has always been the one that I could never get my feelings straight about. The more accessible bent seemed to work in their favor as it features several songs that remain fan favorites. But at the same time, the production and performances can feel rather forced at times and don’t quite have the adventurous feel of their best work. It’s ultimately a good album but despite its status as an entry point for many fans, myself included, I’m not sure if it’s an essential one.
