Overkill
White Devil Armory

Premise: if you believe that "White Devil Armory" is superior to "Ironbound," if you believe it is even the best album by Overkill since "Necroshine" (1999), then do not read this review. Let one thing be clear: this is a very honest and by no means negative work, it is just that I do not align myself with the perhaps excessive jubilation with which Overkill's latest effort has been received.

The last gasp of Bobby "Blitz" Ellsworth and his buddies, "The Electric Age," certainly highlighted the importance of Overkill as one of the few entities in thrash metal still faithful to certain coordinates. Raw attitude, a more or less unchanged "sound earthquake," and above all, no desire to give in to the music business by denaturing their sonic architectures. An album that did not rewrite metal but was "fresh" and genuine, especially for a genre now spiraled in on itself. The new WDA (July 18, 2014) is identical in its approach to the listener but at the same time perpetrates choices that ultimately undermine its overall value.

The seventeenth studio work is once again a chapter of absolute compactness and ability to preserve its own style. A quick and biting creation, capable of making the vast majority of today's pseudo-bands, who claim to mimic Metallica, pale. Ellsworth's voice is the usual extraordinary concentration of power, remaining immaculate even after decades. Verni continues to pound his bass, affirming himself as one of the most important and at the same time underrated and unknown bassists of the genre. The two guitars of Derek Tailer and Dave Linsk are less convincing, but not in execution and solo parts (all Linsk's, by the way). What does not convince is their recording: unlike many other entities, Nuclear Blast has done a good job with Overkill, enhancing their power without making the sound mass "fake." That said, the overly abrasive sound of the six strings clearly emerges, an element that was already evident in "The Electric Age."

The confidence of Overkill is nonetheless evident. A band with no problems continuing down paths already traced in the past. No room for experimentalism, just 10 pieces of old speed/thrash. The average quality of the work is good, but even here, the compositional peaks of the already mentioned "Ironbound," which is the benchmark for the latest Overkill, are not reached. There are several tracks to mention: from the earthquake mood of the blow "Pig" to the bullet single "Armorist", ending with songs more linked to the epic atmosphere of the past like "Another Day To Die" and the concluding "In The Name", in the opinion of the writer, the best episode of the record.

The usual great precision in execution emerges, accompanied by a uniformity of rhythm and stylistic choices that, over time, have a negative impact. It's hard to find the right variations, as if Overkill had created an album that is a mirror of itself and incapable of exploring external shores. In short, all pieces are too similar to each other and lack variety. Songwriting not among the most inspired of the stars and stripes combo.

And yet, in the absolute dullness into which one of the most followed subgenres of metal has plunged, a band like Overkill is still essential. This is why a slight drop in tone can also be forgiven.

1. "XDm" (0:49)
2. "Armorist" (3:53)
3. "Down To The Bone" (4:05)
4. "Pig" (5:22)
5. "Bitter Pill" (5:47)
6. "Where There's Smoke..." (4:20)
7. "Freedom Rings" (6:52)
8. "Another Day To Die" (4:56)
9. "King Of The Rat Bastards" (4:09)
10. "It's All Yours" (4:25)
11. "In The Name" (6:03)