Anthrax
Spreading the Disease

THE REVIEW

The historical thrash/speed metal group, with a somewhat dangerous name and quite Italian origins, in my opinion, creates the quintessential album representing the genre in 1985.
"Spreading the Disease," released by Megaforce, sees the light thanks to the classic line-up, which at the time supported classic American metal, influencing the generation towards a heavier style.  Originating from the New York coast, like their contemporaries Overkill and Nuclear Assault, they differ from the Bay Area wave, placing more importance on the influences of the New Wave Of British Heavy Metal and flavoring their music with a more melodic taste.

The band, formed by the duo Ronsenfield – Lilker,  has always distinguished itself from other groups by its sound sprouted from hardcore, highlighted by the cadence parts and the breaks in the pieces, followed by lightning-fast restarts. Throughout the various albums, there has been an evolution of sounds, intending to satisfy all fans: from those wanting a return to more pressing and fast sounds, to those praising the mixed works between rap and metal. In the Anthrax discography, this is the most interesting and intense album, also due to the fewer slowed parts. The sounds that the group proposed during those years were significant and innovative, carried out in the aforementioned album. In fact, they collected HC influence  (vocals and breaks), along with speed metal sounds (synthetic and violent riffs) and the tricks of thrash dominating the music scene (anger and pounding rhythms).

Joey Belladonna, a vocalist inclined towards hardcore singing, expresses his anger and involves the remaining members in wild choruses. Dan Spitz, Scott Ian (guitars), and Frank Bello (bass) work on pressing and threatening chords. The incandescent solos run like wild horses, and Benante's drums stop only on rare occasions.
The rhythms are distinguished by a combination of melody and ferocity ("Armed and Dangerous"). In other cases, the music pumps pure adrenaline ("Guns – Ho", "Lone Justice", and "A.i.r.") and is expressed in almost devastating forms ("Aftershock", "Stand or Fall") and destructive ones ("Madhouse"). Slowed melodies are present in a few songs ("Medusa" and "The Enemy"), always supported by an oppressive sound, Anthrax's trademark.