Testament
Low

THE REVIEW

Today, the Testament are considered by many to be nothing more than an appendix of a musical movement that is now dead and buried, and currently desperately trying to survive its own glory by presenting itself in a new guise (which has much to do with "metalcore," although this undergoes influences that are not mostly "Thrash"), and with new names, as the biggest and most significant names of the house have abandoned the extreme and violent attitude (and a bit mockingly, let's face it) to devote themselves to the sport that attracts young ears and record companies the most: "nu-metal" and everything that derives from it.

However, if we take a step back a few decades, we will certainly realize that Testament are by no means "an appendix," but rather, a band of great respect, who have performed on stage and shared burdens and honors with distinguished names that we all know today: Slayer, Megadeth, Dark Angel, Whiplash, Exodus, Metallica, etc. Between the '80s and early '90s, these American guys brought a breath of "joyous" violence and technique to a genre already largely invaded by ultra-negative, opposing, and nihilistic reflections.

The fact that they are considered "seniors" today is irrelevant, simply because Testament are a little piece of hard history and loved madly by hundreds of people. People who today laugh at Trivium and Caliban, thinking that the fans of these bands believe their attitude is genuine and original, while it is not at all. By all means, everyone has their tastes that need to be respected and listened to, but the easy setups for better marketing certain products should perhaps be set aside, especially if you're addressing ears trained for years in Thrash Metal. "Low" proves it.

In a period that was certainly not good for Testament, they, with the strength of the talent of James Murphy and Chuck Billy, on guitar and vocals respectively, in 1994, delivered a violent and thundering album that in several instances went beyond Bay Area Thrash to delve into a certain murderous and stringent Death Metal, producing an explosive and captivating work, with its strengths being excellent production, wondrous, fast and catchy songs without being "sold out," and the great desire to once again rise to the fleeting glories of the past. Whether or not Testament succeeded, it is up to those who followed them to further judge, but, for our part, in this work, we can say that the authenticity is abundant and clear.

And so it begins beautifully with "Low" with its enviable breaks and drum patterns, introduced by an enviable growl and a power that punches to the left and right. Then, without pauses, until "Trial of Tears", there's not a moment of rest: fury, ferocity, Thrash and more Thrash. "Trial of Tears" is a sort of interlude to the second part of the album, a song although beautiful, placed there to prepare for the subsequent destructive tracks. "Shades of War", "Dog Faced Gods" and "Chasing Fear" flow in a raw and unadorned sonic delirium, and "Ride", this one more shocking and rich in "mood" than the others, leaves you stunned with a drum blast that knocks you out of your seat, with no holds barred.

Allow me, if I may, to say that, even though I really like new trends and do not disdain them at all, sometimes I recognize that the class and time-tested experience of certain giants is undeniably without question because, when they decide to flex their muscles, there's nothing that can stand their ground.