Album Review: Testament - Para Bellum
Reviewed by Matthew Williams
I was sitting with my best mate having a few pints before seeing Slayer in Cardiff this summer, and we got onto our favourite subject, thrash metal, and both concluded that Testament are still delivering blistering music, whereas others have fallen by the wayside. Why they were never added to the so called “Big Four” was, and remains, a mystery to this day.
They notified their intent of more savagery with their first single “Infanticide A.I,” in August, and I was taken aback by the intense drumming from their latest incumbent Chris Dovas. It also revealed elements of black metal in the guitar work from riff gods Eric Peterson and Alex Skiolnick, adding more atmospheric soundscapes to their already legendary song structures. By the time they released the next single “Shadow People” in September, the anticipation levels were through the roof, as this is one groove heavy track, with a spooky and eerie edge to the vocals from Chuck Billy.
One of the many parts that makes Testament so special is that they address so many different issues. From the award winning “Native Blood” and the environmental concerns raised in 1989’s “Greenhouse Effect” they don’t shy away from difficult topics, and this album is no different, as the launch their own battle cry by delving into the modern chaos that affects us all.
“For the Love of Pain” begins the album, and it’s exactly what you want from the band. In your face, heavy, fast, and with that famous guttural scream from Chuck Billy, as he brings you into their new world, with its modern sound but not straying too far from what they do best.
With the two previously released singles up next, it’s time for……a ballad!!! And who doesn’t love a Testament balled. In their truest tradition, “Meant to Be” allows their genius to shine brighter, with Skolnick and Peterson riffing away, but they’ve included true, orchestrated strings performed by world renowned cellist Dave Eggar. Billy digs deep vocally to give a heartfelt rendition reminiscent of 1989’s famously titled “The Ballad”.
Billy introduces “High Noon” with no music in the background, but it soon spills over into a frenzied riff stand-off between Peterson and Skolnick, reminiscent of two gunslingers. They complement each other perfectly, and are the epitome of a well-oiled machine, with Dovas adding more punch in the drums, and Steve DiGiorgio’s low basslines, it’s as good as anything they’ve produced in years.
“Witch Hunt” again sees their guitar wizardry on show, with technical excellence bounding over in abundance, and as Skolnick said, “there’s a little something for everyone”. With 10 new tracks, “Nature of the Beast” has a very fresh sound to it, whilst remaining distinctively Testament, as Billy’s vocal isn’t quite as ferocious in its delivery.
The quintet seems to be embracing new ways of performing on “Room 117” which flourishes and allows the guitars to be less frenetic whilst remaining tight and polished. “Havana Syndrome” has a ring of early Testament to it and is an early contender for the song that people will love the most, which, quite frankly, is impossible to choose, as all ten songs are unique in their structure, key and ambience.
The finale is left to the album title track, which has been taken from the Latin phrase Si vis pacem, para bellum which translates to “If you want peace, prepare for war”. The song tips it hat to 1987’s “The Legacy” album, as it resurrects a lost bridge, but it’s explosive from the start, with Billy at his imperial and imposing best. The whole album is relentless and will rank highly alongside their previous 13 releases. With Peterson peacefully ending the song with his classical-esque finger picking, the balance is restored and the bands legacy as one thrash metals finest remains firmly in place.
