Legends never die, and Testament is proof of that!
After a few years under the name Legacy, the band established its current identity in 1987, and so it is 38 years later that Eric Peterson (guitar/vocals, Spin the Wheel, ex-Dragonlord), Alex Skolnick (guitar, Hu$h Money, ex-Savatage), Chuck Billy (vocals, Dublin Death Patrol), Steve DiGiorgio (bass, Quadvium, ex-Death, ex-Ephel Duath, ex-Sadus…) and Chris Dovas (drums, Dovas, Evulsion, ex-Seven Spires, live for Vital Remains) announced the release of Para Bellum, their fourteenth album.
The band kicks off with the aggressive For the Love of Pain, which draws on old-school roots with a sharp, modern mix, giving the staccato riffs even more power, as does Chuck‘s voice, which is sometimes doubled by fierce backing vocals. There is a dissonant touch on the choruses, but also some fairly heavy passages, while Infanticide A.I. begins with a touch of technicality, which is confirmed with the addition of thick Thrash/Death roots to its already vindictive riffs. The track is much shorter than the previous one and gets straight to the point, unleashing all its violence before giving way to Shadow People, which slows things down with a groovy intro before unleashing its effective rhythm tinged with a touch of the occult, both in the leads and in certain vocal parts. The track also indulges in long mosh parts before giving way to Meant to Be and its melancholic introduction, confirmed by the arrival of vocals that affirm this power ballad on which the musicians (accompanied by Dave Eggar, Chuck Palmer, and Xavi Morató on violins/cello and orchestrations) allow themselves a few energetic or complex bursts at times. We continue with High Noon, which kicks off with pure efficiency, combining furious riffs and a vocalist in great form, followed by Witch Hunt, which is cut from the same cloth, easily reminding me of the band’s early albums with its brutal, fast, and uncompromising style. The central sung passage is surprising, relaxing the atmosphere a little before joining Nature of the Beast and its unapologetic heavy roots, which bring the riffs together before focusing on the melodies on Room 117, which also features passages tailor-made for live performances. Havana Syndrome returns with a sharper Thrash sound and furious vocals, while retaining singable choruses that make you want to bang your head vigorously before moving on to Para Bellum, the eponymous title track and last composition on the album, which combines furious parts like on the first tracks, but also more melodic moments and a particularly catchy passage before the finale.
It’s almost impossible that you’ve never heard of Testament, as the band is so well known in the thrash scene (and metal in general) for its quality and longevity. Para Bellum has nothing to be ashamed of compared to its predecessors, and will soon be raging in concert halls as it already does in your speakers!
90/100
