'Persistence of Time' was released in August 1990, two years after its predecessor 'State of Euphoria'. Entering the new decade, Anthrax surprised many of their fans and released their heaviest and darkest effort to date. Now where had a lot of humouristic traits of the band's music gone, many were asking. Well, people get older, and they learn more about this world. The band had got deeper into business and there was always tomorrow to think about. Time ticking away, tic-toc-tic-toc... So it was goodbye to sappy bermuda shorts, comic book shirts and Beavis & Butt-Head antics (well, that "Married With Children" scene did happen, though). Just look at that fine cover art...

Okay, 'Persistence of Time' isn't most aggressive thrash metal (or generally, metal music) out there, but in 1990 this sounded HEAVY. And it still does. The lower end might not be of nowadays' standards, but still this is loud! Compact disc was a rather new thing back then, and vinyl always sounded heftier. The guitars are ripping, to say the least, the bass is pounding, and the drums are both ringing and devastating. The vocals are lightweight compared to everything else, but they fit in perfectly. However, the mix sounds very clear, finely bringing forth everything between trebly and bassy levels. What a fantastic production by the band with Mark Dodson (who also produced Suicidal Tendencies, Metal Church, Judas Priest and U.D.O. among others)!

The production alone does not an album make. What we need are good songs! Music-wise, this album is one of the best sets of the songs from Anthrax. Anyway, by putting four longest songs at the beginning of the album (from 6 and a half minutes to over seven minutes in length) the band took a brave step. While maintaining sharp and thrashy sound, it's also more heavier and more oppressive. The tempos are more middle ground this time around. However, this way the band had more space to add more meat on the bones, from tiny details to major song-smithing. Surely there are some rather slow and simple, in Anthrax's terms, parts. This isn't pure thrash metal like the previous two albums, but more varying like 1985's 'Spreading the Disease' is. This is Anthrax putting in some hard-hitting heavy metal again, in their own, unique way.

The rhythm guitarist Scott Ian does have fast, precise and heavy hand and has created his own style, but he's not overtly technically skilled otherwise. In a way, he reminds me of James Hetfield and Max Cavalera with his style: A bloody ace rhythm guitarist who does nail his bit without fucking around! The drummer Charlie Benante is a real powerhouse yet very much a detail-squeezer; very much with a unique style. These two fellas are the masterminds behind the band and the music, even though the songwriting credits go to the whole band. This is why Anthrax sound so distinct. Add to that formula the adept guitarist Dan Spitz, who is fast and clockwork-sharp, and adds melodiousness into this album that isn't particularly melodic guitar-wise.

This takes us to Joey Belladonna, whose vocals are clean, light and melodic compared to other elements. He wields his part surprisigly well, when thinking about general murkiness. He was able to incorporate some angst, vehemence and spite (lyrics include topics about holocaust, racism, rough childhood and greedy leaders). His voice isn't overlapped like on newer albums from the band, but on a few occasions; he's backed by the band. Generally, I feel that some of the vocal lines could have been more massive, more epic, because now it feels a bit too simple. On 'Got the Time' he sounds very similar as the next Anthrax vocalist John Bush (of Armored Saint fame). Last but not least comes the bass player extraordinaire, Frank Bello with his clanking finger-played. He's fucking everywhere, even though isn't soloing but on that cover song. All-important, hard-workng piece of machinery. I play both drums and bass, and Charlie and Frank are some of the best artists, not just mere players, with their instruments I've ever heard. It's not merely about backing the guitars.

So, this is still Anthrax from two previous albums, but heavier, darker and generally a bit slower. 'Keep It in the Family' starts as the slowest Anthrax stomper up to date, but even it picks up pace at some point. These longer song kind of build up a momentum, being like advancing tanks. Everything is in motion all the time.. Then again, 'Gridlock' begins basically with grinding. The band was on their way towards groove metal, and it can be heard here and there during these 60 minutes. Well, this packs more groove than actual groove metal albums often do, to tell the truth! There are no funny melodies or vibes, and melodiousness is at times missing ('Gridlock' being the clearest example, and also the only throw-away track); this also happens with Joey's vocals, as he was instructed to sound more angry or whatever, hence giving us less melodies. 'Belly of the Beast' contains some early Iron Maiden style riffing. Music-wise, 'Discharge' is the most related to earlier Anthrax. The Joe Jackson cover 'Got the Time'... The band really made it their own, even though it's way punky than anything else here. The outcome, as a whole album, is a very organic-sounding thing packed with extremely explosive energy.

Grunge and overtly polished thrash, or more like "thrash" metal, hadn't as yet hit the music world as hard as they would later. 'Persistence of Time' is a fine artifact of its turbulent time before the collapse that many a band, even Anthrax, fell victim to. This is thrash with seriousness, kind of Anthrax's '..And Justice for All', 'Twisted into Form' or 'Oppressing the Masses'. This would be one of my "desert island" albums!

Rating: 9+ (out of 10) ratings explained

Reviewed by Lane
01/09/2018 20:36