TESTAMENT – Para Bellum

A landmark in US thrash metal releases its thirteenth album. This should be a band that does not have to be introduced anymore, right?

Genre Defining Place in History

When Testament appeared openly in the thrash world in 1987, purposely ignoring the demo years before, the band immediately made its mark in the Bay Area and created one of the classic albums of the region and time, The Legacy. Thirty-eight years later, after excursions into melody with Practice What You Preach and Souls of Black, brilliant hard rock influences in The Ritual, an infusion of death metal in Low and especially Demonic, the band has found its style and form and has delivered great albums since the late nineties.

Same Ingredients, Interpreted Differently

Upon its first spin, Para Bellum immediately delights fans of Testament, as all the signature sounds and moves are present throughout the album — albeit differently emphasized and definitely not simply the same recipe as on its predecessor Titans of Creation. It cannot be praised enough that they have hardly ever repeated themselves from album to album and at the same time have always retained their style and trademarks while extending their musical influences. This is the tradition Para Bellum follows while chiseling its own face into the totem pillar of Testament.

From Brutal and Merciless…

Album number thirteen begins extremely heavy. “For the Love of Pain” mixes Chuck Billy’s brutal growls, screams, and even black-metallic shrieking with a mixture of blast beats, groove, singing guitar melodies and, yes indeed, a breakdown — and pours it on top of one of the most experimental songs the band has done in, well, maybe ever. The following “Infanticide A.I.” is almost as relentless but more typical for the band. But as with the last album, Titans of Creation, Testament knows how to spice things up with the midtempo “Shadow People” and the ballad “Meant to Be.” Unfortunately, both songs are mediocre, and especially “Meant to Be” is nowhere close to the signature ballad of the band, “Return to Serenity.” With “High Noon” returning to the modern, unfortunately not very distinct and dynamic sound of the beginning, Para Bellum looks a bit bland — as if Chuck and friends had used up all their originality in the opening duo.

…To Melodic and Upbeat

But no, the second half of the album marks a sudden twist toward a much more melodic approach. While “Witch Hunt” is a speedy neckbreaker, the extra infusion of harmony is audible in the guitar work of Eric Peterson and Alex Skolnick. With “Nature of the Beast”, the band leaves thrash and aggression behind and finds mellower ground, which will hardly be abandoned for the remaining twenty minutes. “Room 117” and “Havana Syndrome” can best be compared to “Dream Deceiver” from their last album but go a step further in the direction of 1989 to 1992. That goes so far that “Havana Syndrome” displays obvious nods to Iron Maiden or Thin Lizzy. Who would have thought! And the band kept their biggest ace up their sleeves for the end, as the title track “Para Bellum” is the perfect blend of power and irresistible melody — and probably one of the best songs they ever composed.

Prepare for Para Bellum

The new album contains several obvious highlights but at the same time several songs that seem bland upon first listen, and even two that can only be called fillers. Still, the best ones shine so brightly that Para Bellum deserves a space on the shelf. Unfortunately, the diversity and dynamics of the composition are not reflected in the production, as the album is mainly set to “loud.” It would arguably be a wanted development if producers and engineers would return to a more sophisticated approach to music. There are subtleties that the fans want to hear. Even in thrash.

Tracklist

1. For the Love of Pain (5:35)
2. Infanticide A.I. (3:27)
3. Shadow People (5:45)
4. Meant to Be (7:33)
5. High Noon (3:52)
6. Witch Hunt (4:16)
7. Nature of the Beast (4:28)
8. Room 117 (4:18)
9. Havana Syndrome (4:40)
10. Para Bellum (6:30)

Lineup

Eric Peterson – rhythm and lead guitar, backing vocals
Alex Skolnick – lead and rhythm guitar, backing vocals
Chuck Billy – lead vocals
Steve Di Giorgio – bass, backing vocals
Chris Dovas – drums