Today Is The Day
Willpower

Today Is The Day is a group from Nashville, led by the controversial leader Steve Austin.
They debuted with the excellent "Supernova," but their consecration only occurred thanks to the subsequent "Willpower," released in 1994 and probably still today the best work of the band.

The trio (besides Austin, there are drummer Brad Elrod and bassist Mike Herrel) absorbs the lessons taught by bands like Metallica, Unsane, and Napalm Death in the previous decade and arrives at the creation of a composite genre containing both thrash accelerations, grind frenzy, and noise chaos, but also vague hints at progressive and math-rock. The sound obtained is visceral, claustrophobic, in a word, terrifying. Something unique that truckloads of pale imitators have tried in vain to emulate. "Willpower" reveals to the world the birth of the most important extreme band of the late '90s.
The intro of the title track puts things straight immediately. A frustrated female voice is properly torn apart by the imposing sound wall set up by the trio, with a prevailing bass to which violent guitar lashes alternate. But it is the second part of the piece that is phenomenal, with Austin as the protagonist, intent on singing a sweet lullaby under a velvety instrumental background.
"My First Knife" follows the same pattern but returns to hitting hard at the end. Second song, second success.

"Nothing To Lose" starts slow, rises in tone as the minutes pass, until it explodes in the frantic conclusion. "Golden Calf" vies for the best episode of the record; initial spoken words, followed by an enveloping melody accompanied by Austin's psychotic and frightened whisper, an ideal prelude to the epic chorus. "Sidewinder" is another masterpiece, a complex composition made of prodigious frontal attacks, frenzied riffs, hinted words, delirious screams; pauses, breaks, progressions, and restarts alternate throughout the duration of the track. "Many Happy Returns" is a showcase of the group, exhibiting all its skills at best. Impeccable guitar work, grim singing, icy rhythm section. Austin also masterfully handles the poignant "Simple Touch," an enchanting track, full of pathos. "A Promised Land" has the challenging task of closing the record; it passes the test with flying colors.
The atmosphere becomes increasingly somber, tragic. The singing (?) has never been so heartrending.

In conclusion, an album that is terribly intense and captivating, full of ideas and interesting insights. The second piece of the stratospheric and hopefully still fruitful career of the Nashville cult. Those seeking a new conception of violence and extremism in music have found Paradise. Everyone else, keep your distance.