Review Summary: Unc's still got it.
What expectations do you have for legacy bands? That is to say, bands that have been chugging along for 40-plus years, but whose best days are clearly behind them. Thrash as a genre is now over 40 years old, and countless legends and pioneers are still grinding out tours and making new albums even as they approach their 70s. It is an interesting evolution to track as time passes. The genre was born out of youthful innovation and aggressive energy that had never been seen before, yet it is still being carried by that same initial wave of bands. No other metal subgenre is quite like this. The interesting thing about thrash is that the bands who defined the genre are still the ones carrying its mainstream legacy, whereas other metal genres have had much more dramatic generational turnover. The bands who are still going, for the most part, after the dark ages of the 90s and early 2000s usually stick to mid-tempo thrash that, while usually at least listenable, doesn't really wow anyone but the diehards. If I had to pick the most predictable type of album, it would be the legacy thrash band.
Anthrax has certainly had their ups and downs, there's no secret about that. Their initial run from
Fistful of Metal to
Persistence of Time is incredibly consistent and jam-packed with punky, fun energy and crushing grooves that made them stand out from the legendary Bay Area scene. That run came to an abrupt end with the firing of vocalist Joey Belladonna after
Persistence of Time, for reasons that change every time Scott Ian talks about it. After that, it depends on who you ask whether the four-album era with new vocalist John Bush of Armored Saint was a refreshing change of pace with a more grunge- and alternative-influenced sound, or a complete abandonment of what Anthrax was. The turbulence and uncertainty continued with a reunion lineup featuring Belladonna, who played some shows with the band amid plans to record an album that he later refuted. Bush was understandably put off by this debacle and, when asked to rejoin the band, declined. Anthrax then hired a new vocalist, Dan Nelson, who was involved in writing the forthcoming album and played a few live shows with them. He was subsequently gone from the band without ever appearing on an album, amid a bizarre and still-disputed falling-out, and Bush rejoined the band again with plans for a new album with him on vocals. Bush, however, didn't want to commit to the band full-time and left of his own accord, with Belladonna finally returning for good. It was a complete mess.
At least this absolute disaster brought us back to the right spot, with Joey Belladonna as the voice of Anthrax again. It’s undeniable to me, at least, that Belladonna is Anthrax. Without him, it just doesn’t feel quite right. His soaring classic heavy metal vocal style created such a fantastic, unique contrast with Scott Ian’s pummeling riffage and Charlie Benante’s furious pounding of the kit. That dichotomy of sounds that shouldn’t really work together is what makes Anthrax, well, Anthrax.
Worship Music, despite all the drama, was one hell of a comeback album, with songs that weren’t even originally intended for Belladonna to sing. It wasn’t a complete reinvention of their sound, but instead a nice maturation and natural evolution, still retaining their initial thrashy aggression while becoming much more melodic and hook-focused.
For All Kings is much the same, while introducing a few progressive curveballs. These albums, to me, have a lot to offer, but neither completely united the fanbase, and now we've been left waiting 10 long years for the follow-up.
After so many years, it’s very easy to build up a new direction in your head and overhype yourself. What will it be? A continuation of the last two, something more experimental and progressive, a return to roots thrash, something brand new? It could be anything!
Cursum Perficio has a little bit of everything to please fans across all eras. What I enjoy the most is the variety here, equally split between throwback thrashy tracks that sound ripped out of their classic era, heavy groovers, and their more mid-tempo, melodic, catchy heavy metal songs, while still having a few tricks up their sleeve. That is quite rare for a late-career thrash album, and this grab bag keeps the album interesting throughout, even as it clocks in at almost an hour. After a brief intro, the full opening song, “The Long Goodbye”, takes off with chugs driving the song forward, punctuated with underlying melodies that lead to a truly gargantuan hook that Belladonna absolutely crushes with authority. It’s one of their catchiest songs, and Belladonna sounds as good as ever at age 65, with so much power and a bit more grit in his voice this time around that honestly gives some late-career Dio vibes. He has never truly gotten the respect that he deserves as a premier vocalist in thrash, and his skills are well showcased here.
It’s not just Belladonna that is in fine form here, the entire band came to play. Scott Ian’s riffs are as crunchy and groovy as ever, Charlie Benante continues to be one of the best drummers in metal with his speed and precision, Frank Bello’s rumbling bass is audible throughout, and lead guitarist Jon Donais gets his moments to shred. Benante deserves special mention, as I’ve never had an ear for picking out excellent drumming, but he makes it so obvious and clear with how he dictates the tempo, and his speedy, controlled double bass is a treat. This is not a band on autopilot, and no song demonstrates this more than “The Edge of Perfection,” which I was absolutely stunned by when I first heard it. The track starts off with a gorgeous, lush clean guitar section, leading into an explosion of ferocious blast beats from Benante and a soaring tremolo riff right out of a blackgaze band. How can you not be impressed with a band over 40 years old, with most members in their 60s, taking pages out of new trends in extreme metal? And Anthrax of all bands? They blend this with signature Anthrax grooves and thrashy licks, along with a bombastic, emotional hook featuring “whoa oh ohs,” for something genuinely special and different. Joey really holds some notes in the chorus, further showcasing his range and power. There is also an incredibly soulful guitar solo in the closing section with some serious feeling, but it still absolutely shreds and holds up even compared to their early output. Not nearly to that extent, but the title track continues this experimentation in its structure, with a beautiful clean intro that comes back throughout the song, transitioning into a bouncy, head-bobbing riff and more great vocals from Belladonna in the verses, as well as another phenomenal, memorable solo that is dripping with emotion. This is what all legacy bands should strive to create: a new spin on their classic sound.
While they embrace new ideas and some progressive structuring, they can still write some throwback bangers. Lead single “It’s for the Kids” is a great example of that, with its speedy riffage, a fun hook, and a gnarly, groovy breakdown in the mid-section that leads to a blistering, flashy solo courtesy of Shadows Fall axeman Jon Donais. “NYC 93” might be the song that sounds the most like an Anthrax song from the ’80s of their modern era. It again features some fast pace with some serious punk flavor, with Belladonna sounding a bit more gruff, proving he can keep up with the tempo. The absolute best part of the track is the trademark Anthrax gang hook continuously shouting “It ain’t worth doing unless you do it to death,” which pumps some needed macho, hardcore energy into the mix. There’s also a sweet solo and some great bass work to boot. As much as I enjoy modern, melodic Anthrax, I wouldn’t mind an album chock-full of these ragers. “T.O.M.B.” is another standout that is the most groove-metal-influenced, with a main riff that just sounds mean as hell and is absolutely punishing in its simplistic brutality. It’s a pure headbanger that will open up the pit and showcase that magical contrast of heavy-ass riffs and Belladonna’s soaring, higher-pitched vocals.
Cursum Perficio also features some of Anthrax’s traditional pitfalls: it’s a bit long, some songs could certainly use some trimming, and there are a few I could do without. But the batting average is still high for a band in their twilight years.
Cursum Perficio roughly translates to "I complete my journey" in Latin. Anthrax are now all in their 60s, so it’s understandable to wonder if this could be the end of the road, even as the band has gone back and forth on whether they intend for this to be a finale. This modern trio of albums still feels energetic, fresh, and, most importantly, fun. They aren’t completely reinventing the wheel, but rather making nice tweaks and updates to their sound while still remaining Anthrax at their core, all while their members continue to play at an incredibly high level. That’s really all you can ask for from a band this far into their career. They’ve found interesting ways to add new tricks to their sound without losing the weird combination of thrash, traditional heavy metal, punk, melody, and sheer fun that made them stand out in the first place. Anthrax have shown one of the most convincing examples of how a legacy thrash band can age gracefully without simply reliving its golden years.
