The Electric Age

To me, this is a "new" Overkill record despite the reality that 3 albums have been released in the meantime and we're starting to anticipate another. The reason it counts as new is because everything from Ironbound onwards counts as new in terms of style and form for these New Jersey veterans; also, because I actually have this album sitting at home and probably bought it only 3 or 4 years ago, after the time I was granted every Overkill album up to and including Immortalis. (I say granted, but I mean that I found an amazing hard drive somewhere.) Significant in drawing the line, thrash made a full comeback over the groovier ventures of the previous decade, and The Electric Age lives up to its name by raising the voltage a bit more than most of the material on either side chronologically. It still contends with my timeless Overkill niggle, which comes down to disliking heavy rhythms where more heavy riffing would do me just nicely, but I guess while D.D. Verni numbers among the quintet's ranks, it's hard to reject the bass presence and slugged-out rhythmic parts.

As ever, some of the cuts are pretty hefty by thrash standards, this album sitting on the 50 minute mark and peddling 10 songs, though sensibly 2 of the longest (above 6 minutes each) reside at the front of the listen, testing patience less at the album's end. Overall, the features that mark almost every one include lurching riffing with that slamming quality of hardcore at times, some more technical guitar moments particularly on the leads, incensed vocal snarling and wailing from the inimitable Blitz, and those incredibly heavy-duty rhythms from Verni and Ron Lipnicki on drums. With the sheer weight of all the instruments, I'm actually impressed that Overkill manage to maintain a pretty quick mid-pace most of the time, since the guitars seem all blunt edges and grinding gears - the bass somehow even more so, like a tombstone being dragged shut - and, coupled with the gut punch of the drums, would absolutely cripple your average car stereo, or at the very least send an automatic warning to the police from the other side of town. Why do I mention the sonic properties of the album along with its length? Simply, those not keen on this heavyweight form of demolition had better search for more forgiving thrash from Testament, Megadeth, or Annihilator, all bands that tend to add more variety to the all-out thrashing we get on The Electric Age.

Of course, much of the former paragraph refers to personal preference in your thrash metal, and despite feeling a bit bruised by Overkill's approach, I can't deny that they do a good job writing songs. The longer cuts balance between traditional riffing build-ups, manic verses, some slower atmospheric parts, plus extended lead and bridge sections that can alter the flavour of the piece midway. That's the case when 'Drop the Hammer Down' enters a series of wicked chord changes and a brief harmonized guitar section, where it sounds like Iron Maiden are fighting off weapon-wielding burglars before standing victorious for one of Dave Linsk's longer, more melodic solos. Of course, it returns to the rampant boxing match chorus soon after. Having 'Come and Get It' as the leading track proves intriguing too, not least because it mixes some of the pacier riffs with an unusual choral interlude in the middle, when it sounds like a troop of ancient soldiers preparing for battle - a brief power metal oddity in a field of raging thrash. Other moments that particularly stand out include the manic heightening of '21st Century Man' during much of its length, the catchier brevity of 'Black Haze', and the tender clean guitar that opens 'Good Night' only to explode into the kind of anthem that appeared on Horrorscope.

Although in the scope of their career The Electric Age probably didn't seem like a certain step, Overkill's trajectory over the past decade proves that this extremely solid album roughly represents the peak performance of the "new" era due to gradually diminishing returns from a similar formula ever since. Rarely in doubt is the band's ability to keep the intensity going across a 50-60 minute album, yet some of the releases from the group make such length unnecessary, something that the recording in questions suffers less from, though suffers from all the same. Personally, trimming a few songs by a minute or more would make me more appreciative of the hard-hitting exhibition, largely because the amount of repetition necessary to conventional thrash song structure reduces the impact of any idea, however good. Certainly that's the case with the lengthy yet straightforward 'All Over But the Shouting', which might have been held back along with 'Save Yourself', even if the absence of the latter would rob us of a gnarly bass solo introducing the guitar solo. Generally speaking, The Electric Age is charged with energy and potency, selling itself well as one of Overkill's finest recent efforts.

Mmm! Ironbound part II to most, a beast of its own to me. The Electric Age is the standout post-2009 Overkill album in my mind, partially because of me diving deep into them when this dropped, and partially because I think the songs themselves stand apart the most. From a stylistic standpoint, this really isn’t much different than its predecessor. And as strong as that one was, I found that Blitz and co. had reached their peak on this style here.

With my mentioning of thrash bands over-producing things too much these days, that all but forces me to put a lot of my opinion eggs in the songwriting basket. Given what we know, I think that this is the catchiest record the band has done since Necroshine in 1999. Our obvious example is “Electric Rattlesnake” with its fuming chorus, groovy layout, and extremely sharp hooks. But I honestly think that far more than just this song holds such a description.

Matter of fact, I think the opener “Come And Get It” hits us with this pretty quickly. I find it to be a bit of an earworm, which is a pretty good sign. “Drop The Hammer Down” is another one that comes to mind, and the fact that these are longer songs with bridges and breaks in them kinda says a lot, seeing that they don’t become too much too soon. Also, can we talk about D.D. Verni’s basslines in these? Hell, “Electric Rattlesnake” uses this in place of drum fills, and boy is it ever tasty! That crawling progression in “All Over But The Shouthing”? Forget it!

The Electric Age manages to sidestep these tactics from time to time as well. “Old Wounds, New Scars” is a bit of a brief, throwback-type tune that brings on the attitude that made me fall in love with Overkill in the first place. On the other hand, “Black Daze” simplifies everything down for another catchier attack while utilizing doomier crawls, while “Wish You Were Dead” drops some of the riffiest rhythms they’ve had in a while. Even “21st Century Man” is loads of fun, despite it being a bit on-the-nose. I won’t pretend that this isn’t just a little longer than it should be. Besides that, these songs make for a pretty loaded plate.

If there’s only one Overkill record you hear from the newer era, make it this one. Ironbound definitely deserves your attention as well since we probably wouldn’t have this one without the groundwork that it laid before us. But everything after this (so far) has been the same tactics done either not as well, or just as well but with more filler. Easily the best thing they’ve done since 1999.

Originally written for Metal Inferno

This band is one of my new favourites after listening to this CD. They manage to effortlessly bridge the gap and walk the fine line between the two thrash camps. Speed/brutality, and creative, memorable riffage. Just when I thought the Big 4 (minus Slayer) did it pretty well, I heard about these guys recently, and here I am now, writing this review.

THE standout track off the album has to be "Electric Rattlesnake". With a kickass title like that, you know you're in for something special. The Halford-esque vocals of Bobby "Blitz" Ellsworth grabs you in a bearhug and doesn't let go, even AFTER you've stopped listening! (NB this applies to the entire album) The infectiously catchy riffage connects to the listener as well, uses interesting chord progressions as opposed to being a few notes/chords tremolo picked ad nauseam. The slow section gives the band a little something to show off their range.

"Old Wounds, New Scars", "Drop The Hammer Down" and "Come and Get It" also deserve mentions for being pretty cool and getting the listener firing on all cylinders with more unbridled speed, pounding drums and infectious, electrifying riffage, but that said, the sound described doesn't really differ from track to track. It's also a fine line to walk between general consistency of sound and repetitiveness, and the band seems focused on doing their own thing which they enjoy and that they hope we enjoy too, and I do still enjoy it; and the many other glowing reviews about this album tell me that many others enjoy it too!

Finally, the drums deserve a big mention. Firstly, Ron Lipnicki has some serious stamina to keep going at such a furious tempo for each song on the album (even if it does get a bit wearing at times), and second of all, he knows how to throw in an interesting fill while fitting the style of the song, which is something not many big-name drummers can do (Lars Ulrich and Ringo Starr are the first names that spring to mind), and he should be applauded for that.

If you like thrash with a generally kickass sound, I highly recommend! They may not be as diverse as Metallica, but then again some decisions are better left un-mentioned (*cough* St Anger *cough*) and the whole thing comes together really nicely due in no small part to the chemistry between all the band members. Pick this album up if you ever get the chance, and enjoy your dose of Overkill!

The upward swing continues. This edges out even Ironbound, delivering the incendiary goods for nearly the entire duration. It seems as if the band has finally eased into a writing process that works for both them and the fans, as a two-year turnaround resulting in material this consistently memorable is commendable.

Compared to Ironbound, The Electric Age flips many of the same switches, only going a step further regarding speed and vivacity. The most prevalent shortcomings from the preceding album have been almost totally rectified here. Ellsworth has cleaned up his vocal delivery, soaring high and mighty above his pedestrian output from the last three albums. He even breaks out his operatic intonation during the instant-classic opener "Come and Get it". This track deserves its own special mention, as it builds up energy until around the halfway point, where Ellsworth's caterwauling gives way to a crushing groove. Verni also makes significant vocal contributions, forcing the atmosphere in a direction that is reminiscent of The Years of Decay at times.

I can hear new, more modern influences being introduced into the guitar performances. "Drop the Hammer Down" features a thick, harmonized Iron Maiden-esque lead right before the solo that reminds me of "Endless War" from Ironbound. The difference here is that the solo is just as impressive as well, being both melodic and emotive. Hardly the typical shred-excess that is normally associated with thrash metal. Linsk and Tailer redeem themselves from almost all of their past follies on this album alone. The riffs come heavy and they come fast, with solos popping out where you least expect them. On the few moments where the band does slow down, such as "Black Daze", the almighty groove takes over, slowly tearing the listener's teeth out as opposed to simply kicking them in. Despite the slower acoustic textures that open "Good Night", it fakes the listener out like "Coma" before it and ends up being yet another blistering number.

The one area where The Electric Age falls short is the production. It is passable, but not as heavy or convincing as on Ironbound. Lipnicki's kit sounds less clicky and mechanical, which is good, but the guitars don't have quite as much staying power. Verni's officious tone is audible, but it almost sounds like he is playing in another room separate from the rest of the band, not quite asserting his usual low-end roar. Once you consider the vocal and guitar performances it becomes a bit of an afterthought, however.

The aforementioned tracks are modern classics, along with "Save Yourself" and "21st Century Man". I was however a bit confounded by the choice of "Electric Rattlesnake" as the obligatory single track representing The Electric Age. If there is a throwaway track here this is it, being both overlong and unmemorable on the whole. Regardless, you will certainly feel the pain as The Electric Age rips through your brain, twisting what's left of your mind. Power you see, the power you need. Nerves and bones it GRINDS.

Overkill lives up to their modern metal masterpiece, Ironbound, with a faster and harder, but less diversified album. This album pretty much has the same production job as Ironbound, too. And like Ironbound it is mostly thrash with all the good elements of their '90s work put into effect to where it adds to the music, but doesn't detract from it. Like almost any Overkill before it, the vocal lines are all very catchy and Blitz is still the same snarling badass he's always been, especially with lines like "you got a lot of mouth for a Jersey white boy" or "don't you look so fucking sad, I'll beat you like you never had"

Opening with Come and Get It and closing with Good Night, this album contains elements that are found all over Overkill's discography, successfully mixing their '80s thrash with a fair amount of their '90s groove. In a way, this and Ironbound could be considered a second prime of Overkill as the material is excellent and they show no signs of slowing down. Then again, Overkill has never really released a bad album because you can always find a few zingers on any Overkill album.

The production on the album is pretty much the same as Ironbound as every instrument can be heard perfectly and it sounds like a modern production, just without all the overproduction that happens in most of today's mainstream music. In fact, this production provides a lot of clarity and clearness in the sound while still sounding rough.

The guitar work of the epic team of Dave Linsk and Derek Tailer is superb, providing fresh metallic thrash riffs with a little groove thrown in for good taste. Their are riffs a plenty and no one song sounds the same. Black Daze is slower than the rest of the songs, but has a nice groove riff in it while other songs are more thrash-tinged and even have some Iron Maiden-sounding riffs, like in Save Yourself. The solos at some points are reminiscent of the lead work on Megadeth's Rust in Peace. This can be seen in opener Come and Get It and Drop the Hammer Down as well as other songs on the album.

On the bass we have D.D. Verni, who as always is audible and delivers his classic adrenaline-pumped bass lines. His tone as always is that metallic crunch that we all enjoy and puts in some fills. His performance is never lacking and that is probably why he has remained one of my biggest influences on the bass to this day.

The drums fit the music and Ron Lipnicki's style brings in a lot of clicks and clacks as well some pounding rhythms to unleash Overkill's brand of thrash upon the listener. He manages to keep it thrashy, yet something is different about his style as it just doesn't sound like your generic thrash drums. It pounds, but you also end up paying attention to the drum beat and it doesn't just fade into the background like some other thrash songs. In a way, the drums make their own identity and works great.

Overall, what we have here is some catchy thrash with a little groove thrown in and it sounds great. Other bands have failed to pull off groove Overkill succeeds with and manages to make groove metal sound great, unlike most other bands in the genre.

Highlights: Drop the Hammer Down, Electric Rattlesnake, Save Yourself.

In metal and music at large, there's an unfortunate trend of artists 'wearing out their welcome', so to speak. A perfect example of this is Metallica, who- despite continuing to sell out stadiums- have become something of a laughingstock in recent years for their post-90s transgressions. On the other hand, bands such as Iron Maiden and Overkill have continued to receive praise and excitement for new albums. Lasting inspiration and band chemistry is certainly a factor when considering the long-term popularity of bands like these, but I think a large part of it has to do with sticking to a band's roots. While Metallica beckoned the chagrin of metalheads worldwide for dancing with mainstream rock and 'trash can metal', the long-term winners stick to their guns, maintaining their trademark sound and giving it a kick in the rear once in a while to keep it fresh. Approaching a new Overkill album, fans know what they're going to get. In the case of this legendary East Coast act, it is a lethal dose of ball busting, over-the-top thrash metal. "The Electric Age" is a proud testament to the band's longevity- thrashers, take heed!

Overkill have not held the broadsword of excellence high throughout their entire career, but 2010's "Ironbound" sought to bring back the glory. In that sense, "The Electric Age" is not much of a revelation or 'surprise comeback' record; it's a continuation of the heavy-hitting fury they're known for. Comparisons have been drawn between the sound of Overkill and that of Megadeth, and it rings true on "The Electric Age." However, while Megadeth went a bit conservative with energy and speed in their more recent material, Overkill maintain the same burstfire aggression of their youth. As a testament to their experience as musicians, Overkill continue to refine their production standards and technical precision.

The guitar duo of Linsk and Tailer is one of the best matches in thrash metal today. Although most thrash guitarists I've heard tend to rely on the twenty second solo opening to demonstrate their proficiency, these two bring the incredible musicianship to the rhythms. I get the impression listening to the busy, shifting riffs throughout "The Electric Age" that Linsk and Tailer were trying to outdo the earlier incarnations of Overkill. Although they aren't original members of the band, they sound right at home with Overkill. The riffs come a dozen a minute it seems, and the tight songcraft manages to tie it all together in such a way that they all compliment each other.

Perhaps the most distinctive aspect of Overkill has always been Bobby 'Blitz' Ellsworth. Like a thrash metal Bruce Dickinson, his voice has stood the test of time, belting out his blistering combination of snarls and falsetto shrieks as well as he ever has. Megadeth is certainly a go-to comparison for any newcomers, but I'd also go ahead and cite a strong similarity to GWAR in parts. This pair of GWAR and Megadeth is mirrored greatly in the vocal delivery, best demonstrated in the album's heavy highlight "Old Wounds, New Scars." The vocals switch off between a Mustaine-esque snarl, a deep clean voice that could pass for Oderus Urungus, and- of course- Bobby's signature shriek. At times, Bobby's inflections will get a bit nasal for my tastes, but I cannot think of a better vocalist to match Overkill's aggressive style.

I'll admit; "The Electric Age" is my first full-album experience with Overkill. However, what limited listening I had done endowed me with a sense of respect and expectation for this album. In a word, it's excellent. Memorable songwriting, rich production, and an incendiary performance. It's nothing really new for Overkill, but it does not disappoint in the slightest.

Overkill have always been one of those thrash bands that to me, never released any bad albums. Sure there were a few that obviously wasn't as good as the others, but never an album I felt "what the fuck is this shit?" about. Though it seems like the band had their peek during the eighties and early nineties, like most thrash bands, Overkill seem to have gotten a new peek in recent years. Ironbound was a bomb that got dropped in 2010, a thrash album every true fan of the genre had wanted for a long time. The Electric Age is no exception two years later as the band is in the middle of a nuclear war, it seems!

Since its release I've had the time to go through it a bunch of times and it sure is one solid piece of metal music! While unfortunately most other big thrash bands today put out mediocre albums, Overkill really do the opposite. I think it shows in albums sales / popularity as well. When the album kicks in with "Come And Get It" my first thought was "is this Megadeth?". It sounds like something Megadeth should've done, but did not. It's a very great opening track that shows what this album is like. After the Megadeth-like opening the song kicks into traditional Overkill style, but the song has one more big surprise ahead! The middle section turns into a sort of marching thing reminiscent of many great eighties heavy metal bands. Throughout the whole album there actually is an Iron Maiden-feel in particular songs, so think classic Overkill meets Megadeth cirka 2007-2009 meets Iron Maiden. Next song to go is the lead single "Electric Rattlesnake" - a catchy, fun, and to-be live staple kind of tune. As the album continues we hear "Black Daze", a mid-paced song that also is very catchy and reminds me a little of Megadeth's "In My Darkest Hour". "Drop The Hammer Down" is a given to-be fan favorite and the ending track "Good Night" stands for this album's most "ballad" like tune, which is a very common and great thing Overkill have on most of their albums. It's very catchy and I sure only hope the song doesn't point at that this could be the last Overkill album. In between all these stick-outs there are some very solid and good Overkill album, though maybe not of lead single-caliber?

The album sound continues in a similar vein to Ironbound but the songs are overall shorter and not as progressive. Think that this is a stripped-down, more straight to the point Ironbound version and I think you've got the idea. I think this was a great move by the band as another "that" progressive album maybe wouldn't have matched its predecessor. Instead Overkill take the energy and quality of Ironbound and put it into a more "classic Overkill album" style.

In conclusion this album was both very surprising and not. It was surprising that the band managed to do an equally good album after the awesome Ironbound, but at the same time it's not surprising as I imagine that the band got really fired up by the great response Ironbound got. In the end this album shows that Overkill are in a new peek in their career and I feel a need to mosh and drink beer while listening to it. I raise my fist in honor of Overkill for succeeding once again, with hope that there will be more albums of this caliber in the near future!

I feel pretty secure when I say that Overkill will most likely be the winners in 2012!

The unexpected success of Overkill's 2010 album Ironbound placed the band in a rather precarious position. Essentially the first record in many years to generate such a positive wave of buzz for the band, it arrived at just the point where thrash had gone completely viral with a number of retro acts culling the sounds of the 80s into modern production standards. A whole new generation of thrasher was inspired to jump aboard the Chaly express, and at the same time, many fans of the groups first 4-5 records who had long since abandoned them to the middling groove experiments that were so dominant in the 90s finally felt they could return to that Overkill they fell in love with. Personally, as someone from the latter camp, I found Ironbound to be a decent record, if nowhere near so exemplary as many had painted it. The lethal, youthful energy seemed to have repossessed Jersey's finest, and the songs were easily as strong as Killbox 13 (the one other post-80s Overkill album I was borderline into) but precious few of the actual songs justified such lavish praise.

But would it prove a fluke for Bobby 'Blitz' Ellsworth and company? Would they achieve their 15 minutes once more, then sink back into another decade or so of relative mediocrity? From the sounds of the follow up, The Electric Age, I can proudly say not a chance in hell, because not only does this record reassert the groups charismatic volatility in spades, but the more I listen through this the more it sticks with me. In fact, I already like it more than Ironbound, and have no problem declaring it their best studio full-length since Under the Influence in 1988. Yes, better than The Years of Decay. Or Horroscope. Even in the very dregs of this album, like the petulant chugfest "Old Wounds, New Scars" or the more boogie metal infused "21st Century Man", the personality of Blitz alone is enough to carry what otherwise might feel like a less inspired set of riffs. The pacing throughout is violent and dependable, the riffs feral and bombastic even when they're not memorable, and at least a dozen times here, you feel as if you've been run over by the band's tour bus as it patrols the city streets stalking new venues to destroy.

This is by far the best guitar tone they've achieved in a great many years, with plenty of bite to it that drops out wisely for the ferocious, warped lead-work, and both the muscled staccato chords and palm mutes sound brazen, with as much current as Chaly's electric wings on the cover. There are a few grooves I found rather bland and empty here or there, like the breakdown in "Electric Rattlesnake", but in general songs like "Wish You Were Dead" and "All Over But the Shouting" take you straight back to the 'powersurge' of the 80s and they're propulsive enough to blow over anything that many of the band's peers from the Golden Age are producing lately (like Exodus, for example). The bass lines are superior to about eight albums leading up to this one, Verni gunning alongside the guitars without flagellating over himself like some would say he used to in the late 80s alongside Gustafson's writing; and Ron Lipnicki makes a strong account for himself here, laying into the kit with a fury his predecessors like Mallare and Rat Skates could only muster on their very best outings in the band's catalog.

All of this pales in comparison to Bobby mother fucking Blitz, who reinstates himself here as that guy you don't want to lock horns with in a dark alleyway. The self-reflective chorus lines in tracks like "Old Wounds, New Scars" ('Got a lot of mouth for a Jersey white boy/beat the drum, now you've gone too far') or "Wish You Were Dead ('got me spinning in circles/hanging by a thread/if I had one wish to use, I swear it/I wish you were dead') truly get the listener's blood stirring and prompted for a fist fight with whoever is available, something I just couldn't have said for an Immortalis or ReliXIV. In truth, this is probably the strongest of his performances outside Feel the Fire and Taking Over, he comes off slightly more edgy and aggravated than even Ironbound, and considering just how crucial his delivery is to the success of an Overkill album...it's money in the bank.

Despite all this praise, and its numerous overt strengths, The Electric Age still falls shy of greatness by a slim margin I'd largely attribute to the riffing, which is strong enough to support Blitz and maintain the gnashing, abusive fire under the album's ass, but not really all that distinct when broken down to individual patterns and progressions. Pacing and structure trump quality. There aren't any that I wanted to learn on my guitar once the smoke cleared. For fans old and new, it's likely money well spent, but while it's clearly got some replay power, I'm not sure how long it can endure, or if I'll care for songs like "Come and Get It" in another 3-5 years. The post-80s Overkill masterpiece still seems to elude me (though I realize I'm in the minority with all the gushing over Ironbound), but this certainly edges them in the proper direction, and there are least 30-40 minutes here of solid headbanging frenzy driven by THE VOICE.

-autothrall
http://www.fromthedustreturned.com

Overkill has basically rendered itself as the gold standard by which any thrash outfit should be measured, paying their dues through both the touring and recording medium, and proving that consistency will trump misguided innovation any day of the week. One could argue that the reason they are not regarded as a member of the so-called Big 4 is because they kick way too much ass to be boxed into a commercial box and passed off as something consumable by the standard hipster type (this is not to denigrate the obvious accomplishments of Anthrax, Metallica, Megadeth or Slayer). It’s not merely enough for Overkill to thrash, they literally have to curb stomp every single head they come across to the point of justifying Obamacare.

But pretentious fan-boy worship aside, Overkill has developed a highly effective approach to the modern incarnation of thrash metal that is neither a slave to the past nor by any means a departure from the style’s roots. They’ve gone through a couple of mild slumps due to a slight over-emphasis on the slower, grooving approach to heaviness since the mid 90s, but even when incorporating elements of Pantera and Machine Head, they’ve always remained a cut above the rest. “The Electric Age” is an album that doesn’t fall into the latter category in any way, shape or form; but is an outright speed and riff assault out of the same playbook as “Killbox 13” and “Ironbound”.

The overall character of this album is mildly processed, pretty close to the extra-punchy mix of drums and guitar distortion heard on recent output by Heathen and Death Angel. However, much of the riff work hearkens back to the early days of speed/thrash heard in the early works of Metallica and Megadeth, with a slight helping of pummeling grooves in the mold of Exhorder. This is particularly noticeable on the utterly astounding combination of old and new displayed on “Come And Get It” and “Electric Rattlesnake” where a rapid fire thrashing approach normally reserved for something under 4 minutes is extended with a set of hard edged breakdown/interludes that are slightly oriented towards the early 90s half-thrash sound (part of the interlude of “Electric Rattlesnake” has some obvious influences from “Cowboys From Hell”).

But regardless to whether things are fast or slow, or in longer packages like the first two songs, or a more compact dose of frenzied glory like “Wish You Were Dead” and “Save Yourself”, the elements are all in place and ready to crush all who oppose with an overwhelming display of force and defiance. The only thing more impressive than the ingenious mixture of flashy solos, biting rhythm lines and drum beats is Blitz’s utterly nasty vocal display. After more than 30 years of this guy punishing his own voice on the road, somehow that raving warlock character hasn’t lost any of its grit or gusto as one dirty shout leads to an even higher pitched set of primal screams.

For obvious cult adherents to the temple of the winged skull like myself, owning everything this band puts out is a no-brainer, but this particular album is definitely a must have for anybody who wants a modern alternative to the current revivalist craze going on right now yet doesn’t feel like jumping on the Machine Head bandwagon. In particular, anyone who was taken in by the sound that typified “Horrorscope” and has since been displayed on “Bloodletting”, “Killbox 13” or “Ironbound” will take this like a mutated fish to toxic infused water. Drink and bang your head in bad health.

You just can't beat a bit of Overkill. The wrecking crew are back, for the proverbial attack with their mighty sixteenth (!) full-length release The Electric Age. Thrash fans are going to want to buy this without further persuasion. Seriously, order this bad lad right now. As for the more curious, I bid you read on.

First things first, the production is absolutely fucking perfect here. If you were to ask me what modern thrash should sound like, I'd present this album to you with a massive, shit-eating grin. The kit sounds great, punchy, with the only slight niggle being that the cymbals could have a slight more bite. The guitar tone is great, well rounded and the lead guitar tone is straight out of Marty Friedman circa 1990. Now the absolute star of the production is the bass. A lot of bands neglect bass, but Overkill proudly put the bass into the foreground, and with a player like D.D. Verni they would be stupid not to. Every single guitar and bass stab slaps you in the face with the force of an electrically-charged bionic arm.

With such a good sound, you obviously need good performances, and surprise surprise; this is exactly what we find on The Electric Age. Bobby Blitz sounds bloody half his age, utilizing plenty of power and some great Halford-esque screams. Guitarists Derek Tailer and Dave Linsk are also on the money here, spewing forth brilliant speed metal riffs, face-splattering thrash breaks, and holy shit the lead guitar work is out of this world. As for the rhythm section, do I really need to say much? D.D. and Ron provide a frighteningly tight backbone, with solid grooves, and schooled restraint.

As for the songs, well every single track is absolutely class. Each of which boast either great riffs, catchy choruses, wild solos, or furious thrash breaks, a lot of which feature all of these things. Some of the notable standouts for me would be "Electric Rattlesnake" with its classic, grooving middle section, "Old Wounds, New Scars" which boasts a hilarious shout-along moment in the "Got a lot of mouth for a Jersey white boy" line, and finally "21st Century Man" which features a fair bit of Megadeth styling, and also houses the album's finest guitar solo, pure Marty worship.

Whilst new releases from Kreator and Testament are ready to drop over the next few months, I'm unsure as to how well they're going to stand up to The Electric Age. Overkill have been on fire for the majority of their career, people talk of "big fours" but really I don't think any thrash band has been as consistently on the money as Overkill. This is another classic release from one of the genre's absolute masters, and any fan of thrash metal would be a moron to pass this up. If you've yet to hear this band then... Wait a second, if you've yet to hear this band you're probably on the wrong site, jog on, poser. For the rest of us, let's turn this up to 11!

Originally written for http://www.metalcrypt.com

Overkill is back and they must have felt a jolt in their system. The New Jersey boys now have 17 albums under their belt and they sound better than ever. It was going to be tough to top their last output in “Ironbound”, but they have found a way to meet expectations.

The two main men, vocalist Bobby Blitz and bassist D.D Verni, have cooked up ten monsters that don’t let up until after the last note is played. “Come and Get It” storms through with crushing riffs and a shredding solo from Dave Linsk. The first single in “Electric Rattlesnake” has some Black Sabbath moments and the ascending rhythm part with a slicing bass and pumping drums near the end combined with the final solo is memorable and drives a great song.

The production is again outstanding on this album. Overkill has, with a couple exceptions, always brought the best sound out of their instruments from “The Years of Decay” to “The Killing Kind” to “Ironbound.” The drums by Ron Lipnicki and the riffing by Derek Tailer are in your face just as they were on “Ironbound.” The top-notch production puts other heavyweights such as Slayer and Metallica to shame.

The thrashing continues with “Drop the Hammer Down” which would make the mighty Thor proud. It features a nice melodic solo and Blitz delivers an awesome chorus as if he’s about to bring the pain with his weapon. The verse also has a beautiful transition to that chorus and another one of the standouts. “All Over but The Shouting” has a title that wouldn’t look strange on a Cannibal Corpse album. The backing guitar theatrics with Blitz delivering the narrative is a nice touch.

However, there are a couple instances where the songwriting is not as strong. “Save Yourself” is a generic thrasher with not much going for it. The riff is bland and it fails to develop into something great. The other track that does not deliver is “Old Wounds, New Scars.” The song is homage to their New Jersey background, but the chorus is awkward and when it seems like the song is going to pick up steam, it doesn’t.

With that being said, “The Electric Age” is a winner. Even though his voice has been through a lot, Blitz’s vocals are as charismatic as ever and Verni is still delivering bass lines that make him one of the best in the business. The fellas have really hit their stride after the disappointment that was “Immortalis” back in 2007. Blitz ends the proceedings in a fitting way uttering “Good night.” Thank you Blitz and the rest of the ‘Kill; I will have a good night’s rest after taking in the shock of “The Electric Age.”

nicksmetal.blogspot.com

After more than thirty years Overkill still stand tall and haven't changed a bit. They are as hungry and wild as in their early years and after the brilliant thrash metal revival that was "Ironbound", the Americans deliver another genre highlight only two years after the last strike with the energizing "The Electric Age". This record is not as brilliant as the last one but comes quite close after all and should be a must have on the list of any thrash metal fan out there in the universe.

Already the opening track "Come And Get It" takes no prisoners. The vocals sound angrier and hungrier than ever before and the song itself is filled with many interesting changes, killer riffs and an amazing bass guitar work. All over the record we can hear punk influences from bands such as The Exploited or Sex Pistols, classic heavy and power metal bits and pieces that make me think of Accept or Grave Digger and also some stuff reminding me of Black Sabbath or the genre colleagues of Metallica in the calmer tracks of the record. Anyway, the final mixture definitely sounds like Overkill but I want to underline the excellent mixture of straight riffs and surprising diversity.

My personal highlights apart of the brilliant opener are the retro banger "Save Yourself" that dominates with multiple energizing vocal parts, once again an excellent bass guitar performance and a sharp solo in a perfect running time without any lengths. Everything is said in not even four minutes which has become a very rare quality in the metal scene that perpetually tends to produce overlong and often boring epics, even in the thrash metal scene.

If bands might work on pieces with a longer running time, they should at least be of the quality of the third highlight of this record which is "Good Night". The track starts with soft guitar sounds that make me think of Metallica's "Fade To Black" or "To Live Is To Die" but the track turns quickly into a pitiless piece of excellent thrash music that makes me think of Metallica's "Master Of Puppets" or the more recent "Cyanide" because of its multiple breaks and atmospheric parts. This track is without a doubt the most diversified song on the entire album and my personal favourite. I wish Metallica would write this kind of music nowadays instead of doing weird experiments with aged rock icons and releasing shallow bonus tracks from old recording sessions.

Even if there are a couple of only solid tracks on this release such as the rather ordinary "Wish You Were Dead" that seems to be written as a straighter piece for some live performances and "21st Century Man" that sounds too much like any other classic Overkill track which are the reasons why this release is not as strong as the last Overkill album or some of their earlier works, this is still a top notch thrash metal record with many new hymns, a few diversified experiments and several future live anthems. I also feel that more complex tracks such as "Electric Rattlesnake" grow each time I listen to them once again and that this album has indeed some serious long time potential. This record is nothing really groundbreaking or new but a hell load of fun to listen to. After this release, I also definitely feel the need to want to see these guys in concert. So please come and get this release!