There are albums written to change the history of music, and there are others that are, more humbly, the right records at the right time. "Wide Fuckin' Open" (a motorcycling term), W.F.O. for friends, is one of these.
The year was 1994. The thrash metal genre had already been declining for some time, and although some of the protagonists of the last decade would still deliver great performances, the masses were moving in search of an original or at least successful way out. Some would make it (Slayer, Sepultura), others were destined to fail, at least for a while (Testament, Metallica). The New Yorkers Overkill, on their eighth release, instead reach their maximum level of power, mastery, furious elegance; an album, this "W.F.O.", completely devoid of even the slightest weakness. A perfect product; perhaps not a creative masterpiece, but certainly thrash craftsmanship rich and varied enough for many consecutive listens (a rare thing for the genre).
It starts with the crescendo of "Where It Hurts", which immediately makes it clear what our guys are made of. The strength of the album is a decisive change in production; although the cleanliness of the latest releases is still far away, one notices a very personal sound. Apart from Bobby "Blitz" Ellsworth's acidic voice, the sound of the bass is the true trademark of Overkill, and here D.D. Verni is truly unleashed, greatly supported by drummer Tim Mallare. This leads to "Fast Junkie", decidedly speedy, and then returning to the more classic thrash with the heavy and atmospheric "The Wait - New High In Lows", one of the two best tracks on the album. It continues with a series of typically speed metal songs, among which "Under One" stands out for the power of the riffs, the bluesy feeling (alive in many Overkill productions) and the obsessive and acidic finale, "Supersonic Hate", for its aggressiveness and speed, but also "R.I.P.", a short and emotion-laden instrumental. Then comes "Bastard Nation", the most commercial track, marked by an easy-listening chorus and a usual powerful and aggressive pace.
But itâs the last track that reserves the album's surprise. A song that is a true masterpiece, and perhaps the best episode not only of the album but maybe in the entire history of Overkill. "Gasoline Dream" is atmosphere, obsessive heaviness, it lives on a most original sound, with a visionary lyrics perfectly attuned to the blurred and deliberately disorienting sound. A track that resolves in the usual violence, which compels you to turn up the volume well beyond the bearable to fully appreciate its acidity, melancholy, and suffering. Despite their good intentions and several admirable albums, Overkill will never be able to reproduce the stylistic and technical perfection of "W.F.O.". A must not only for thrashers but also for those approaching heavy metal more generally.
One last gem: the CD is made up of a full 99 tracks. All empty ones between 11 and 98, with the last one reserving a gem for Overkill fans; our guys playfully tackling the Sabbath's "Heaven And Hell" and Judas Priest's "The Ripper", the bands Overkill has always referred to, in two truly entertaining versions.