Guitarist Scott Ian got fed up with vocalist Joey Belladonna during the recordings of previous album 'Persistence of Time' (1990); Scott didn't find Joey's style suitable for his angry lyrics. No matter how good the band was doing (pretty damn good, actually!), in 1992 Joey got kicked out. Scott wanted to move Anthrax forward.

Everybody gets older and wants to try out something new. Understandable. Maybe to conquer new land and find new fans, maybe for money, but some just do not want to stagnate, simple as that. And the stagnation was a big enemy for Anthrax. Their style hadn't changed much at all since 1987's classic thrash metal album 'Among the Living'; even though they surely got way heavier and very much serious with 'Persistence of Time'. However, what was to come three years later, I don't believe anybody could have guessed how it went.

New winds were blowing in the world of heavy music at the time, and the biggest "thanks" goes to grunge. That said, I'd like to point out that Anthrax did not go grunge, but they certainly changed. The band's musical horizon was expanded with more rocking and catchier songwriting and the sound got less metal, but they still kept their other feet in thrash metal, at least their toes. But: Anthrax sounded new Anthrax, and many didn't like the changes that took place; not back in the day, not even today. Just like many a metal band prior to them, Anthrax downsized their sound and compositions. Think about Metallica after '...And Justice for All' (1988), Iron Maiden after 'Seventh Son of a Seventh Son' (1988) and Queensrÿche after 'Operation: Mindcrime' (1988). There was no way the bands wanted to go even bigger with their sound. 'Persistence...' was so huge, with both the compositions and the sound. It was surely a surprise, but I didn't get heart attack. That's because there had been transitions before, for Anthrax and for many, many other bands I listened to, and I never was a purity freak: "They can't change! They are not doing it for their fans!" They cannot grow up? They cannot try a new sound? They have to stagnate and be totally pale imitation of themselves?

So, Anthrax's sound got stripped down a bit even though there never was anything else, or more, but just the band, really. The songs also got shorter, but not into S.O.D. lengths; the shortest one's 3:42, and the most being on both sides of 5 minutes, plus still we got three songs that went over 6-minute mark. They still had thrash metal, but the band brought back heavy metal (1985's 'Spreading the Disease' was hefty on that department, too) and presented rock into their sound. Still, it is not Judas Priest or Iron Maiden type heavy metal, but more US-styled, like it was tilted towards the rock department, and especially the groove factor that got introduced with this album. It was an unique-sounding mixture, for sure, and very much a baffling one at that for them poor old fans.

The first single cut, 'Hy Pro Glo' is a groovier number, which surely baffled people. It contains good vocal lines, but the band's thrash tightness had turned into looser groove. It is still tight as heck in rocking way, though. The next single was 'Only' (released after the album), which is straight song, and great at that. However, it was too straight for many. While there are heavier and thrashier songs like the opener 'Potter Field', '1000 Point of Hate' and 'Burst', they all have looser vibe to them, especially through the vocals, which also bring in melodiousness. 'Persistence of Time' was such a dark album, the band didn't probably want to dive than far into the abyss this time around. 'Room for One More' is this album's 'Indians' in a way, being one of the closest links to the band's past stylings. The third single, 'Black Lodge' certainly murdered the shreds of expectations of those who hadn't picked up the album with its Twin Peaks vibe. Angelo Badalamenti provided his instrumental expertise into this dark and brooding piece, which contains absolutely great feely vocal lines.

The rhythm section is as unique and adventurous as before, and even further; they really have an inimitable style and they are everywhere, all the time, really. Charlie Benante came up with new beats and bassist Frank Bello is on the loose and wild here. I've always appreciated them very high, and more so than anything else about the band, to tell the truth. The guitars aren't about Scott Ian's sharp-as-fuck riffing anymore, as there's lots of punky and rocking strumming now. Dan Spitz still had some shots left when he created those memorable solos, mostly pretty shredding, but at times, bluesy.

Angrier vocalist was found in Armored Saint frontman John Bush. His raspy and dry-ish, very much belligerent style of singing was indeed perfect for the new sound of Anthrax. His voice was more about rock than metal, and a tad punk-ish. When needed, he did some ample metal singing (e.g. '1000 Points of Hate'). And to fuck things up a bit more, he sounds like rougher Layne Staley (Alice In Chains) every now and then here! Still, that does not make this grunge. Mr. Bush had at least some kind of range in his voice, but it was nothing compared to Joey's. So, he had a range and the skills, but also rather unique voice. He did fit to the band's sound perfectly. A lot of songs carry the topic of rotten relationship, and other topic are criminal minds, religious hypocrisy and other human weaknesses.

The album was produced by Dave Jerden, formerly known with his work with Jane's Addiction, Alice In Chains, and... surprise, surprise; Armored Saint! However, Alice In Chains were absolutely huge, and I guess that fact put that grunge stamp on this album. The guitar sound is dry and buzzing, non-thrash smaller than previously. Actually, the guitars sound non-metal, except during heavier riffing. But again, it does not make this album grunge. They are somewhat muddy and are drowned into everything else. The guitar production is a sort of a failure, for sure. The drums sound powerful as always, as does the pulsating bass guitar.

When I got this album, on its release day, I remember liking it partly. It felt like a small failure. However, it did not take very long for me to start appreciating it as a whole. This is a solid album, period. It's not the biggest side step ever in metal music or for the band: This is a very tight album when compared to the band's lowest point, 'Volume 8 - The Threat Is Real' from 1998, where the band had totally lost the red thread. This sounds different to anything else the band had put out earlier, but I also feel they needed to take a side step from 'Among the Living' / State of Euphoria' (1988) / 'Persistence of Time' triplet, since it could have become totally stagnated. Well, they went further with their simplifying later on...

Rating: 8+ (out of 10) ratings explained

Reviewed by Lane
02/09/2022 11:58