Testament
The New Order

THE REVIEW

If the year in which classic Thrash broke through with the "usual" "Reign In Blood," "Master Of Puppets," "Spreading The Disease/Among The Living," "Peace Sells...But Who's Buying?" was the glorious 1986, the following year, 1987, certainly did not look any less profitable.
In 1987, in fact, two very important timeless masterpieces of Thrash, "musically a bit more intense," came to life, works that would provide great inspiration for the most influential bands to follow, especially in the Death Metal realm.
These two "historical documents" answered to the names "The Legacy" by the young Testament and "Scream Bloody Gore" by the late Chuck's Death.
Probably, or rather, definitely, the second was more important than the first, but only because its release spawned a more extreme branch of Thrash that would take its name from the same group.
The first work, however, went slightly unnoticed, partly due to the importance of "Scream Bloody Gore," which practically monopolized the praises of specialized critics, partly due to the merely sufficient production that slightly diminished the immense value of the masterpiece.
Testament nonetheless managed to return to the spotlight the following year, thanks to their second work, which emerged as one of the most influential albums of the '80s.
The production improves significantly, Testament realize they have an authentic six-string genius in their lineup, Alex Skolnick, and they exploit the advantage to the fullest, understanding that the hour of revenge has arrived... In short, Testament become even more damn great than they already were, and the masterpiece is nearly achieved.
There are songs on this album that I have never heard from other bands and that even Testament themselves have not managed to match: nevertheless, some minor but overall quite influential flaws prevent "The New Order" from becoming Testament's masterpiece.
"Eerie Inhabitants," the album's opener, fully confirms the intentions driving the five: fearsomely creative electric guitar and imbued with the neobaroque taste of the great Alex, rage to spare but always seasoned with a great dose of melody, a good bassist, Greg Christian, who, along with the "Italian" drummer Louie Clemente, formed one of the best rhythm sections of the time, all accompanied by the fiery vocals of the enormous Chuck Billy, probably the best singer extreme Thrash has ever produced.
The winning formula is repeated and extended throughout the album, in which the fabulous title track, "Trial By Fire," "Into The Pit," the instrumental "Hypnosis," "Disciple Of The Watch," "The Preacher," and the impressive "Musical Death (A Dirge)," which I do not hesitate to call the "Stairway To Heaven" of Testament, fully confirm Peterson and Skolnick's great technical-compositional abilities, making us feel emotions never felt before and raising the hairs on the back of our necks thanks to the magnificent, highly technical, simply sublime, and perfect solos of the aforementioned musician, the classic guitarist who always knows how to play the right note at the right time.
At this point, a five-star rating would be more than deserved, but it is hindered by a tired and boring cover of Aerosmith's "Nobody's Fault," which sounds dull from the start despite an energetic interpretation by frontman Billy, and a demotivated "A Day Of Reckoning," which plays too hazardously with uneven time signatures, doubling down on Testament's straightforward and regular Thrash sound.
Recommended to everyone: metalheads and non-metalheads, classical and electric guitar teachers, bassists looking for a Thrash album where the bass is well played and, above all, heard, singers who believe they are better than Billy and thus guilty of belittling with their nonsense the brilliance of the giant.
But I really can't give it a five: that's better left to "The Legacy" and "The Gathering"...