I remember getting this album in 1994 and enjoying the first four songs. I still think they are the best of this bunch of twelve pieces. However, I never really got bored with the whole while banging to it, and most of the songs are very much listenable. Even now, some 28 years later...

Still, this sounds totally like early 1990s did. I had heard guitarist Tom Klimchuck on Pro-Pain's debut album two years earlier, and he brought some of that style to M.O.D. (= Method Of Destruction) for this album, and for this album only. Vocalist and mastermind Billy Milano sounds more like a human being compared to Pro-Pain's Gary Meskil, even though not missing any attitude. This was my first M.O.D. platter, and about the third or fourth in hardcore/crossover metal (Pro-Pain's debut, Biohazard's 'Urban Discipline' [both released in 1992] and then this or Pro-Pain's lovely 'Truth Hurts' that too came out in 1994). I never became a hardcore/crossover fanatic, but stuck with these bands and also found others, and punk rock too.

Again, this album has a great opening quartet, which simply tops the other songs, except 'Time Bomb' is on same level. I think they are most varying and complicated ones. It is more hardcore in general, just like the previous one from 1992, 'Rhythm of Fear'; slowing down a bit, bringing in more groove, less S.O.D. and Anthrax than before = less thrash, more streetwise attitude. Tides change, like for about 9 bands out of 10. Still, there are more thrashy (with loads of speed metal stylings, e.g. 'Crash n' Burn', 'Super Touch') songs and there are punky songs ('Behind', 'Unhuman Race') and boosted rock 'n roll ('Rock Tonite'). The music was written by Milano and bassist Rob Moschetti, and Klimchuck just played what was composed.

Drummer Dave Chavarri did quite a bit of double kick drumming here, which is always cool for a metalhead. His playing is heavy-handed yet still somewhat more loose than usually on thrash metal, and all-round enjoyable to listen to. There's some not that straight beats (e.g. 'Resist'). Same goes for the guitars; tight when needed, but with big groove to them, too. The bass guitar rumbles and clanks with power, and there's no goddamn funk heard! Very energetic and competent in all, but the production is a tad light, bass-wise. The vocals are shouting with more beary low voice occasionally heard. The lyrics do not contain any deep political commentary, but certainly contain some anarchy.

From a totally front-heavy album, this has turned into a cool party platter during the years (starting the shifting already in 1994, no doubt about it...).

Rating: 7 (out of 10) ratings explained

Reviewed by Lane
05/31/2022 18:11