The Age Has Begun

Overkill is back and they must have felt a jolt in their system. The New Jersey boys now have 17 albums under their belt and they sound better than ever. It was going to be tough to top their last output in “Ironbound”, but they have found a way to meet expectations.

The two main men, vocalist Bobby Blitz and bassist D.D Verni have cooked up ten monsters that doesn’t let up until after the last note is played. “Come and Get It” storms through with crushing riffs and a shredding solo from Dave Linsk. The first single in “Electric Rattlesnake” has some Black Sabbath moments and the ascending rhythm part with a slicing bass and pumping drums near the end combined with the final solo is memorable and drives a great song.

The production is again outstanding on this album. Overkill has, with a couple exceptions, always brought the best sound out of their instruments from “The Years of Decay” to “The Killing Kind” to “Ironbound.” The drums by Ron Lipnicki and the riffing by Derek Tailer are in your face just as they were on “Ironbound.” The top-notch production puts other heavyweights such as Slayer and Metallica to shame.

The thrashing continues with “Drop the Hammer Down” which would make the mighty Thor proud. It features a nice melodic solo and Blitz delivers an awesome chorus as if he’s about to bring the pain with his weapon. The verse also has a beautiful transition to that chorus and another one of the standouts. “All Over but The Shouting” has a title that wouldn’t look strange on a Cannibal Corpse album. The backing guitar theatrics with Blitz delivering the narrative is a nice touch.

However, there are a couple instances where the songwriting is not as strong. “Save Yourself” is a generic thrasher with not much going for it. The riff is bland and it fails to develop into something great. The other track that does not deliver is “Old Wounds, New Scars.” The song is homage to their New Jersey background, but the chorus is awkward and when it seems like the song is going to pick-up steam, it doesn’t.

With that being said, “The Electric Age” is a winner. Even though his voice has been through a lot, Blitz’s vocals are as charismatic as ever and Verni is still delivering bass lines that make him one of the best in the business. The fellas have really hit their stride after the disappointment that was “Immortalis” back in 2007. Blitz ends the proceedings in a fitting way uttering “Good night.” Thank you Blitz and the rest of the ‘Kill; I will have a good night’s rest after taking in the shock of “The Electric Age.”

Killer Covers

Overkill has always exuded the “take no prisoners” perspective in their music with back-breaking thrash and excellent vocals brought to you by Bobby “Blitz” Ellsworth. It should be no surprise then when doing covers of some their favorite songs; they bring in the Overkill juice to spice up tracks some hold near and dear to them.

They perfectly capture the energy of the KISS track “Deuce” by letting the riff do the talking, but they sped up the tempo for a more thrash spirit. Blitz spits out the fury that Gene Simmons brought to one of KISS’s staples songs. I’m sure the Demon would be pleased with the quality put forth by the ‘Kill.

The same approach is done with “Space Truckin’.” The distorted guitars rattle off a thrashed up version of the Deep Purple classic. The drums were simplified because stick man Ian Paice is hard to match, but Tim Mallare lays a solid effort and makes it more in the Overkill style. It is also amusing hearing Blitz’s aggressive vocals go on about the wonders of space travel.

There is a host of Black Sabbath covers as they were an essential influence to Overkill, but then again, Black Sabbath is just about inspirational to every metal band. The best one is the amped up version of “Never Say Die” and guitarist Dave Linsk delivers the perfect solo as found in the original and a new energy is brought with a heavier mark on the guitars and drums. By far the most interesting and different is the cover of “Changes.” The ballad does not have quite have the somber tone, but Blitz’s clean vocals are striking and one of the best vocal performances he has registered. The last and least impressive is “Cornucopia” as the beauty of Tony Iommi’s guitar magic is blown up on this one as this Sabbath tune does not fit the Overkill style.

The cover that left the biggest impression was the Judas Priest cover of “Tyrant.” It sounds like a brand new song as Blitz delivers a gritty, aggressive vocal that accompanies bombast of instrumentation from the rest of the band. The only negative is that the production is muddled. However, the song is presented as if Overkill wrote it. If one wants the clean and high registers of Rob Halford, then opt for the Priest, but if one is in the mood for a raw energy and aggression, then go for the ‘Kill.

Overkill has also been influenced by a number of punk bands and those inspirations are brought to life with covers of some of those bands. I have a never been fan of The Ramones, Sex Pistols, or The Dead Boys, but I realize their importance and can appreciate what they have done. With that said, the attitude in the vocals and making tracks like “No Feelings”, “I’m Against it”, and “Ain’t Nothin’ to Do” thrash tracks are a fun listen. These songs show why they were huge for a developing band and how Overkill’s brand of thrash was influenced by them.

This is one of the better cover albums anyone is going to cross. Instead of doing faithful reinterpretations of classic songs; Overkill decided to do the songs as if they wrote them. The approach is rather successful and if do not sound as good; the effort can surely be appreciated. The vocal performance by Blitz is worth the listen alone. Be sure to check out “Deuce”, “Space Truckin’”, and “Tyrant” for solid doses and go on to “Changes” and “Never Say Die” if you crave for more. After giving this a listen, it is now known that Overkill definitely has all their bases…”covered.”

Guns, Drugs, and Megadeth

“At thirteen I started down this path/fueled with anger, music was my wrath/Years of clawing at scars that never healed/Drowning my mind, the thoughts are too real” From the Gospel of Megadeth, Book Th1rt3en, sec. 13.

Megadeth
Th1rt3en

Since Dave Mustaine regrouped his baby in Megadeth in 2004, they have released a steady string of albums which has been seen as a return to form for the band since the majestic days of the 80s and early 90s. Their last output, “Endgame”, saw the band go back to their speedier side, but also strong songwriting which made it a great effort. “Th1rt3en” has a tough act to follow, but luckily it stands up to the groups name.

“Th1rt3een” sounds mostly like a cross between “Countdown to Extinction” and “Youthanasia.” There are more hard-pounding guitars surrounded by dark melodies that resonated in those releases. It is no coincidence either seeing as two tracks from those sessions made it on this album in “New World Order” and “Millennium of the Blind.” Both of these songs could be found on the “Youthanasia” remastered edition as extra tracks. Hearing these songs receiving their proper release is a great to hear, especially “New World Order” with its awesome lead guitar part before the chorus and the thrashing ending at the end, but I actually like the demoed version of this song better. A grittier, raw sound fit this song perfectly, but the clean version on here takes away from the destructive nature of this song. “Millenium of the Blind” has been built to a full song and the chorus songs like zombies marching towards slowly. I’m not sure if that is a good thing, so I’ll leave it at that.

The production on here is too clean, too polished. Everything sounds too neat. There is nothing that resembles the chaos of “This Day We Fight!” or “Burnt Ice” from the past two Megadeth albums. “Th1rt3en” could benefit more from a more dangerous, more chaotic sound.

With that being said, Mustaine delivers his signature snarl in the fashion everyone knows and love and hearing him rage about the injustices of the world, and the joys of driving fast never becomes old. It is wonderful to hear Dave Ellefson back in the fold because he just makes Megadeth be Megadeth again. His signature bass sound always held the backbone of the older releases. Tracks like “Public Enemy No. 1” and “Wrecker” relish in his grooves.

By far the best songs on here are “Never Dead” and “Public Enemy No. 1”. The brooding intro followed by the snarling riff are awesome. The verse passages and the chorus flow brilliantly and it has stuck in my head since listening. “Public Enemy No.1” resembles something from “Countdown” and has a great driving riff and Mustaine is great in the delivery of the vocals. Other standouts include “Guns, Drugs, and Money” which makes the listener imagine being in a Mexican action movie. The theme and rhythms of the song match perfectly. The other highlight is the closer “13” which is mostly a short biographical account of Mustaine’s life. The moody, mid-paced riff sticks through and is strong closer to this superstitious album. Another plug to “Whose Life (Is it Anyways?)” has a chorus that will stick in your head for days and the rocking, fast paced guitars meld with the fueled charged grievances towards people for not accepting who someone is or think they what’s best for someone.

In the end though, the songwriting is just not as memorable as “Endgame”. That album was going to be hard to beat, but still it is what it is. “Sudden Death” was taken from the Guitar Hero video game last year with blazing leads and solos, but it seems that the verse structures were just an afterthought and is a poor opener to the album. “We the People” is a politically charged rant with a flat chorus, but I suppose it is to resemble a political speech given by some candidate. However, we the people say this song is no good.

As a huge Megadeth fan, I am both pleased and somewhat disappointed with this album. I feel like the band has been stuck in neutral since “United Abominations.” While the band has hit a groove with solid metal tunes, I don’t feel that necessity to go back and listen to it like “Endgame” or the interesting and creative songwriting of “The System Has Failed.” I would like to see the band progress more in the future instead of relying on the past to illustrate its future. Overall, any Megadeth fan should like this and tracks like “Never Dead” and “Public Enemy No. 1” show the band still has the chops to be awesome. If the songs were stronger and the pacing was steadier then it would be a standout, but in the end, we have an above average, but not quite great Megadeth record.