Review Summary: The smartest move they could’ve made in terms of preserving their artistic integrity
To put in the bluntest terms, Testament’s sixth full-length is where they stopped giving a *** what anybody else thought of them. The classic lineup was long gone with James Murphy and John Tempesta assuming lead guitar and drum duties respectively and the group was no longer interested in playing label politics. A greater incorporation of previously unexplored influences also broadened the band’s sonic palette to the point that they allegedly contemplated changing their name at the time. In a sense, you could say that this album marks the beginning of a whole… New Testament.
I'll see myself out.
With the band’s last couple albums vying for a cleaner approach, it’s somewhat amusing to see Low opt for the total opposite. The overall sound is undeniably heavier than anything they’d done before as the admittedly exaggerated death metal tinges give the overall mood a nastier edge while the groove and alternative metal influences ironically reinforce their catchier tendencies better than their more mainstream aspirations ever could. The band’s thrash roots also help keep things focused and running at a snappy pace. There are a lot of things that this album sounds like, but I’d be hard pressed to think of anything that sounds exactly like it.
Going along with that, the musicianship is similarly inspired and thoroughly brimming with life in contrast to the tepid attitude of albums past. The band has finally gotten a production job that highlights their strongest assets with the guitar and bass tones bursting with molten, bottom-heavy power. This is also where Chuck Billy began adding death grunts to his repertoire, resulting in a new level of overall enthusiasm that gives more effective contrasts to his usual barks and cleans. Even the drums stand out as John Tempesta’s grooves and speeds have an intricate tightness that Louie Clemente just never seemed to be capable of delivering.
These sparks carry over to the songwriting, which manages to be both consistent and multi-faceted despite there being twelve tracks to work with. “Trail of Tears” and “Dog Faced Gods” provide the two best contrasting examples of the band’s dynamics in action, the former invoking the formula of previous ballads with a noticeably heavier chorus and more distraught mood while the latter goes all out in death metal influence with its intense drum rolls, furious chugs, and growl/clean vocal juxtapositions doing justice to the Ancient Egyptian theming. No wonder the band almost renamed themselves after that song.
Elsewhere, the title track and “Legions (In Hiding)” start the album incredibly well, dispensing groovy yet driving riff sets and catchy vocals that hint at the more anthemic deliveries of “All I Could Bleed” and the percussive “Ride.” The two instrumentals are also fun, “Urotsukidoji” is a major standout with its bass driven opening, wonky riff structuring, and kooky anime samples while “Last Call” is an appropriately titled denouement with subtle leads that reach back to the melancholic vibes of “Musical Death (A Dirge).”
While Low’s kitchen sink approach to metal may have not helped Testament in terms of pursuing commercial success, it was no doubt the smartest move they could’ve made in terms of preserving their artistic integrity. While the album is especially mind-blowing in the face of the inconsistent efforts that came before it, it manages to be quite satisfying taken on its own terms. Even without Skolnick on board, this style blend does well to highlight all the musicians’ strongest attributes and ensures the songwriting is both solid and adventurous. I’m not sure if any Testament album could beat The Legacy’s legendary status, but this one comes insanely close.
