White Devil Armory

Summer of 2014 was a pretty memorable one for me, being the year I graduated high school and all. Wish I could say the same thing about Overkill. By the time Blitz and co. hit their comeback album in 2010 with Ironbound, the run of efforts that were flat out bad got left behind, hopefully to never return. That doesn't mean that everything since has been great, though. White Devil Armory runs into the issue of working off of its predecessor's success by being a mere copy of its style, without bringing any of the standout hooks that it brought to the table.

Well ok, I shouldn't say there were none. "Armorist" is the big obvious single that lets us in on a burning note, and its catchy structure and energetic kickoff makes it a furious number. On a lesser-known note, "It's All Yours" is one of my favorite 2010s Overkill songs because of how bouncy the rhythms are, and the way the vocals are incorporated within it was solid. I guess I can also appreciate the crushing drum energy on "Down To The Bone." Outside of this? There isn't a lot to get. Given the song placement, it's like a sandwich where the bread is the best part.

Which means the "meat" of White Devil Armory is like your tasteless McDonalds patty that has nothing standout unless you add toppings and lots of cheese. "Freedom Rings" is an annoyingly long track that captures the entire idea into one song, boasting your standard "yep, this is produced, new-age thrash alright" without anything reeling you in for the near 7-minutes. There are decent attempts; "Bitter Pill" makes an obvious reach for suspense but then lets down when you're expecting something unique. "King Of The Rat Bastards" is like your signature tune that just screams their identity without actually delivering something worthwhile.

All of these drawbacks mentioned are things that did work on The Electric Age, which (hot take) I saw as a stronger capitalization of Ironbound. Many see all of these new albums as repetitive, and to a surface-level listener they are. But digging deep, some are more-so than others, and this one is the worst offender in that regard. The records following may not have been groundbreaking, but I found more there than I ever have here. Nothing criminally bad, but only really a necessary spin for the huge fans.

Another milestone! What a great album, musically projected as these thrashers continue to progress in their later years. Total bad asses. The music is what we'll talk about here. Every track on here is worthy of praise. Nothing on here is half assed or ill-fated. It's all congruently matching in resurrection of these thrash gods. All of their ideas are in accordance with musical reason. These guys tear it up with the guitars and vocals. The production sound is just superb. And the mixing is also well done. This is (to me) one of the best Overkill albums I've thought the most highly of. It used to be 'The Years of Decay' but after hearing this one, it's my favorite.

You can hear everything just right. In essence, nothing on here is without merit. They have a good handle on how to musically create a masterpiece. The guitars and vocals are the highlights that I would say are the most prevalent. Everything flows here. The music goes well with the guitars. It's an all-out onslaught of pure thrash metal glory. For guitar players, the riffs and leads are the most worthy of praise. They have their act together on this one. Not even their new one compares to this and that one is fantastic as well. Not a dull moment on here. The energy, the aura, all of it is doggone outstanding.

Bobby does another good job on vocals. His voice took me a while to get into but now I can see how it so much goes with the music. Overkill's lyrics aren't the greatest written but it goes with the genre. As long as the vocals on the album are in accordance with the music then there are no complaints on my part. But yeah, they're still (I consider) to be thrash gods. They have so much experience in the genre that it's easy for them to create albums like this and continue to soar in the category. They really stuck to their thrash metal origin or roots (if you will). They're playing the music that they love, not for money, but for glory.

I would say to look this album up and listen to it fully then if your opinion is like mine, that it's a masterpiece, then chances are you'll hear why. It's going to bleed out of your speakers or ear buds. All of the songs on here are good. There's not one of them that I dislike. I think that as a band, they just reign supreme in the thrash genre. More people need Overkill in their discography. They need to hear what beasts they are and simply profound musicians. Their career has lasted for well over 25 years and look, they're still making terrific albums. Upload this on Spotify and then play it loud. You must own this!!

Ah, Overkill! Even if thrash is not your cup of tea (or bottle of beer, for that matter) you've got to admire the wrecking crew for their consistent excellence: in a career than spans around 30 years, they've been one of the few thrash bands to avoid falling into a career killing creative slump. Even their worst albums are still pretty listenable, and that's a rare trait for a band that has been around that long. So it should be no surprise to anyone (especially anyone who has kept track of their last two albums) that "White Devil Armory", their latest in a series of awesome records, would be nothing short of kick ass. The album is almost an hour, and at no point do you feel alienated from or pulled out of what is going on. Even if the tempo slows down, the energy of the band stays pleasurably consistent.

After a dramatic opening track that reminds me of the opening music from Jurassic Park (seriously, listen to it), we are thrust into the immediate thrash whirlwind of "Armorist" and are never let go. For the most part, this album stays entrenched in pure thrash territory, with occasional deviations into the groove territory Overkill experimented with in the 90s, such as the guitar work in "Bitter Pill" and "Another Day to Die". Otherwise, you are dealing with the type of high speed thrash metal you would expect, the purest example of which can be found in "Where There's Smoke...". Almost immediately, the band launches into a song so insanely fast, you would assume it was made in the 80s, if not for the production which adds an extra punch to the drums and guitar (though admittedly at the initial expense of hearing vocalist Blitz clearly, though your ears will adjust to this quickly).

It's also worth noting that this album has no shortage of amazing riffs and solos, my absolute favorite riff being in "King of the Rat Bastards", since the riff has an Iron Maiden-esque quality to it. The solos, are fast, frenetic and about what you would expect from a thrash record, but some of the best guitar composition is to be found in neither the riffs nor the solos, but the bridge sections. Yeah, that's right, the bridge sections. Providing only a brief reprieve (if you could call it a reprieve) from the thrash attack the rest of the guitar work subjects you to, the riffage in the bridges are often the catchiest, most hook heavy such, as in "Armorist" or "Bitter Pill".

As for individual musicianship outside the guitar work, Drummer Rob Lipnicki keeps things fast as hell from start to finish, bassist D.D Verni can not only be heard under the crunch of the guitar, but provides some impressive bass licks in "Armorist" and "Freedom Rings", and vocalist Blitz shouts his way through the record with the same edge as Brian Johnson, but with far better breath control and even reveals himself a capable "clean" vocalist at one point. If it seems like I have not said much about "White Devil Armory", it is because it covers territory Overkill has already tread in their previous record "The Electric Age", albeit with a seemingly crunchier guitar tone this time around. Besides, it's not as if this is an album that requires a whole lot of digging through and analyzing; Overkill have set out to release a high speed thrash metal album on par with their classics, and as usual, they not only succeed, but they conquer. So go out and buy this, turn it on, turn it up, and enjoy another classic by the un-killable Overkill.

As far as the B-Grade thrash metal scene is concerned, there was a time when Overkill ready DID overkill. I mean, how hard is it to not dig an album with a giant middle finger on the cover? Just goes to show what you mean to them, you poor bastard. Anyway...as the 80s died out, many thrashers were buried like so many Brian Kendricks, Overkill included, until, truth be told, the nu-thrash movement gave them and a few of their contemporaries a reason to keep on keepin' on, leading new life and new recordings in its wake. Such as this...

There's never any easing into any kind of thrash album; you gotta know what you're getting yourself into the second you set foot in the door, and outside of an odd ambient intro the shit kicks into high speed from the get. Yet, for as much of an 80s-as-fuck violence-fest this is through and through, again I'm reminded on how these guys have still been relegated to mid-card status despite a serious boon of creative flair and an energetic performance to tear your freakin' house down. I guess if nothing else that's what keeps "White Devil Armory" from fading into the background; a level of insistence that requires as much attention as it's willing to extract from you. You can't really fault the group for that at the very least. It's fun and intense where it counts, yet it still feels like you'd have to claw through more dreck and refuse than you'd like in order to extract to those tasty musical nuggets. It's unfortunate how that works, though...

Still, this is nothing if not a devastatingly brutal little number that shows how much fuel is left within the collective band/genre tank; I dare you to stare down "Where There's Smoke" and NOT walk away with your face completely melted off, for example. And for the most part things don't settle down or allow for any level of breathing room, even the occasional slower moments that rear their ugly heads. As a result, I dug what I could yet found myself getting more disinterested than I'd thought I'd be as it all progressed. Guess I was just expecting more for what it's all worth; not that there's anything wrong with straight-to-the-bone heaviness, not at all, but if that's all the whole record is based on maybe expand on the process, a little more breadth to the otherwise choking grip of intensity. We've all seen other metal acts, thrash or otherwise, perform such feats time and again, so...could it be too much to ask or expect? That's not up to me...

All in all if all you're looking for is something to trash the room with, you can't go wrong with "White Devil Armory". Overkill and general thrash fans will find a lion's share of whatnot to dig and appreciate, but I could only take so much straightforward bruising. Know what you're going into before entering...

Wow. All I can say is wow. I was surprised with how good Ironbound was, astonished with how good the Electric Age was, and for me White Devil Armory is even better. White Devil Armory is my personal second favorite Overkill album, which feels blasphemous just typing, but yet it's true. The album feels like a summery of the band's career, with a song on it for each style Overkill ever did. For a band as old as Overkill, they still know how to write a good, truly heavy thrash song, something not even a single band in the big 4 is capable of doing. Overkill sits among bands such as Testament and Kreator who are still making albums that rival their peak in the 80's.

Like almost all past Overkill albums, the bass here is loud and thumpy. This is of course a signature sound of Overkill's and if it weren't here, one might think something was wrong. That being said, it isn't quite as loud as on Ironbound or on the Electric Age. In my opinion, this is a good change, allowing the other instruments more room to breathe. This was one of my main complaints about Overkill's last two records, and it's nice to see it addressed. The instruments are a bit clearer and easier to discern from the other instruments.

The song writing is as good as ever, with the songs "Another Day to Die", "Bitter Pill", and "In the Name" really standing out to me as above the rest. Not to take anything away from the other songs on this disc, as they are all awesome tunes. All the songs are heavy and full of energy, which helps the album move along, even on the longer songs. The album still feels substantial, just always moving to the next thing, never stopping too long at any single point. This allows even weaker songs to feel better than maybe they are, because they never overstay their welcome.

Each of the members of Overkill gets to have an important part here, every instrument helping build each song into an energetic slab of awesomeness. That being said, the guitar solos are cut down compared to some of the other Overkill records, and this isn't something I'm a fan of, but it's not anything to really worry over.

All in all, this is another album in the great renaissance of Overkill. It isn't too different than what it follows up, just slightly better in my opinion. This isn't a bad place to start if you're just getting into Overkill, as it does have a bit of every era in it, and does each era well. Plus Bobby's voice is a bit more accessible here than normal, so you can slowly introduce yourself to his off-kilter vocals. This is a truly worthy Overkill album.

Overkill is one of several thrash metal legends that have returned in full strength to somehow reanimate the genre over the past few years. After the mean Ironbound and the surprisingly young and fresh sounding The Electric Age, the powerful White Devil Armory completes a trio of energizing albums with a pitiless mixture of fast thrash metal, moving grooves, and a raw dose of heavy metal and hard rock. All three albums are equally great, and it’s really a matter of tiny nuance and personal taste whether you prefer this output or one of its strong predecessors.

Before I go into detail, let me suggest (as usual) that you purchase the limited edition of this new record, as both bonus tracks are really worth it. The two extra songs are actually amongst my three favorite tracks here. “The Fight Song” is a passionate punk rock anthem that stands out with both energy and great rebellious lyrics, making the final result feel very authentic. If it was up to me, Overkill would release an entire punk rock album with killer songs like “Old School” or this one. The other bonus song is “Miss Misery”, which is a Nazareth cover. Almost forty years after the release of the charming hard rock classic, Overkill transform it into an authentic and timeless heavy metal anthem that closes the record on a high note. It’s one of the rare times that a band manages to improve an already excellent and familiar track, and infuse its own signature sound into the song. The cool lyrics about a femme fatale are partially performed by Mark Tornillo from the German heavy metal legends Accept, and he harmonizes very well with regular singer Bobby “Blitz” Ellsworth. Both powerful singers are obviously influenced by Nazareth, have very similar voices, and complement each other perfectly. If Overkill’s covers continue to be this worthy, I would welcome more.

Don’t worry though, the rest of White Devil Armory is very strong, and has more to do with Overkill’s thrash metal roots. “In The Name” is my favorite song here, turning out to be a passionate old school thrash metal outburst boasting mean lyrics against the system and an anthemic and epic closure that ends the standard full-length record on the highest note. Other highlights include the pitiless album opener “Armorist”, which rips heads off and opens the demonstration with a musical molotov cocktail instead of a simple brick. “Down To The Bone” grooves a little bit more and features one of the most passionate and catchiest choruses on the entire record. This is not only a good single candidate, but also a must for live shows. “Bitter Pill” is even more engaging and grooving, and makes your limbs shake in the strangest ways. Attention: this song will make you look stupid on public transit. Caution is advised.

The record also includes a couple of solid but exchangeable thrash and groove tracks that you can find on almost any Overkill album. This isn’t necessarily a negative element, but it explains why I find this album to be extremely good to excellent and not a milestone of its genre.

If American bands know how to excel in one particular genre, it has to be thrash metal. Overkill strikes hard for the third time in a row, and compensates for the weaker outputs from its more famous colleagues in the Big 4 (except for Anthrax, which has come back to strength since the return of Joey Belladonna). These veterans, as well as many promising young American bands, are promising a bright future for thrash after some rough years. If you enjoy thrash, this release is a very solid candidate for the best record of its kind for the year. Let yourself go and have some fun with this authentic piece of the action, and please try not to smash your furniture or drive your car over any pedestrians while you’re experiencing this nuclear bomb of a record.

Originally written for Black Wind Metal

They're back again to slam your head into the wall with the most headbang-able metal on the planet. It's none other than the eternal Overkill!!! They continue their rampage with one of their best albums yet, White Devil Armory. How a band can keep improving themselves after 3 decades and 17 albums is beyond me sure enough Overkill has. These guys have proved to me time and time again that they can make fantastic thrash metal and I thought it finally time to give them the review they deserve!

White Devil Armory comes after two near perfect thrash masterpieces (endearingly known as thrashterpieces) in 2010's Ironbound and 2012's The Electric Age. And I have to say that this is my favorite of the three. The album begins with a separate intro piece XDM which bursts into the fast and furious Armorist. I'm not sure why they decided to separate these tracks because the last 2 albums had an intro built into the first track but I'm not sure it matters either way. The songs I have no problems with. All the songs are rather interesting as they are all unique but have an amazing consistency that Overkill I believe has perfected at this point. The only song that sticks out as being particularly brilliant is the longest on the album: Freedom Rings. This song. This song is fucking amazing and my new favorite Overkill song. So many riffs, such a fantastic chorus, such a thrash head bang worthy solo it just oozes awesomeness from every faucet and I find myself shouting FREEDOM RINGS! with the chorus all the time. Another song that stands out is the last song In the Name. It took me a few listens to enjoy fully but I really like it now and the ending chant makes me chant with it every time it comes in now.

As for individual instruments. everything on past albums is in full force here. The bass is great. So many memorable bass lines are present in this album. The singing is still furious and filled with shrieks of awesomeness. The guitar solos are particularly memorable on this album especially on Down to the Bone and Freedom Rings. This may be why I'd put this album above the rest because the guitar solos are just unbeatable. Riffs are fine and varied, no problem in that department and drumming is still fast and awesome. I especially like the parts in PIG and King of the Rat Bastards where the drumming is not so double bass filled but still makes the song feel like it's going at 150 miles per hour.

This album shows Overkill taking the best parts of Ironbound and The Electric Age and combining them for one Hell of an experience. This is my pick for album of the year so far and I doubt anything can beat it. Album's like these make me happy to be alive and young in the 21st century, I'm extremely excited as to what these guys will think of next and what's in store for metal in the future. We live in a great time to be metal heads so here's to Overkill the gods of thrash metal!

Ever the institution, the indestructible cockroach-after-the-nuclear-apocalypse of the thrash world, Overkill are now an incredible 17 studio albums strong and on the basis of "White Devil Armory" still have plenty to thrash against. For sheer longevity Bobby 'Blitz' Ellsworth & co simply cannot be matched and although their back catalogue has displayed a level of inconsistency one must expect when considering a band who had to endure the ‘90s metal dark days they have stayed remarkably true to their blue collar thrash roots through 34 years of graft, meaning the likes of "Armorist" and "When There’s Smoke" pack a veritably sufficient punch at any age of performer.

Of course though we are not dealing with Overkill circa 1988 "Under the Influence" days; this is 2014 and with Nuclear Blast backing the New Yorkers we are presented with a thoroughly modern take on the genre, most immediately recognisable in the triggered bass drum sound making itself heard one first song proper, "Armorist" (sound effects opener "XDM" is a quasi-Egyptian waste of space that would be much suited on a Nile record). The mechanistic sound continues through the guitar tones of Dave Linsk and Derek Tailer which both fill the full dynamic range replete with plenty of crunch, but unfortunately of the kind that marks a total inter-changeability with Death Angel, Testament and most of the other ‘80s thrash institutions still peddling the boards. Thankfully long-term bassist DD Verni is a much more acceptable proposition; his thumping low tones are especially prevalent in the groovy "Bitter Pill" and staccato "It's All Yours" although they do get lost in some of the faster tracks. This of course leaves Ellsworth, easily one of the most charismatic vocalists in thrash, heck, in all of metal - the man might be 55 now but as anyone who has seen Overkill live in recent years can attest with his impressive physique, he has worked hard to retain the throaty bite and impressionable persona which has soared above Overkill’s musical efforts at times down the years. Whether it’s in the rising intonations of "Freedom Rings" or his leading lines that obscure the obtrusive lead guitar squealing in the chorus to "Pig" (perhaps a tactical ploy?) I can hardly find a word to negatively review the man. Blitz, I doff my e-hat to you.

As has been the case with virtually all releases of the past 6-8 years from the bygone thrash legends, however, there is a distinct sense of in one ear and out the other about much of the song writing as my multiple listens over a number of weeks have left few lasting memories. Listening while I write these words I yet still have no recollection to "Down to the Bone”, "Another Day to Die" or "King of the Rat Bastards” while closer "In the Name" starts well with Blitz’s scintillating screams of "In the name of father name of the son, in the name of the why we fight" but languishes too long with some misguided gang vocals later on. Overkill circa 2014 is not the act to revolutionise anyone’s perceptions of thrash metal; it is however a solid encounter with a band who refuse to give up the fight and why should they, for on the basis of "White Devil Armory" there is plenty more fight left in these old war horses.

Originally written for www.Rockfreaks.net

Overkill may have settled into a certain niche in recent years but you sure as hell can't call them lazy. 2010's Ironbound was a revitalizing kick in the pants and 2012's The Electric Age successfully kept the momentum going, even if the band has since referred to the latter as being a stylistically limited release. Now with the fascinatingly titled White Devil Armory, Overkill has promised a more dynamic album that still stays true to their lifelong signature sound.

On its most basic points, you won't find too many things on here that weren't already done on the two albums before it. None of the songs stray too far from the standard fast-paced guitar runs, D.D. Verni's bass and backing chants still complement Ron Lipsicki's constant blasts, Blitz's relentless rasp gives songs like "Armorist" and "Pig" their fire, and the sound is wrapped up with the same crispy, trebly production job. Part of me is starting to miss the bottom heavy Immortalis tone but the sound still matches the writing and performances nicely.

While the songs on here do secure themselves in the thrash metal realm, the band has made due on their promise of a more varied release than its predecessor. You won't find a complete out-of-speed experience like "Black Daze" on here but each track does have a certain quirk or tempo change that keeps things from sounding the same. It is most apparent in the second half thanks to the vocal effects on "Another Day To Die" and the epic flair of "Freedom Rings" and "In The Name," though the Necroshine-esque shifts on "Bitter Pill" make it the biggest deviation and strongest highlight.

But with the shifts comes the feeling that they still could've done a little more with them. The writing has a lot of effort put it but it is a little hard to find a "Bring Me The Night" or "The Head And Heart" on here. The bonus cover of Nazareth's "Miss Misery" with Accept's Mark Tornillo does raise a few questions; it's a cool idea but I can't help but wonder if they considered having him on one of the album's main tracks. Perhaps the reaction to their Randy Blythe collaboration scared them off...

Overkill's seventeenth full-length fits right in with the other pieces of the "Ironbound Trilogy" and may be about even with its predecessor in terms of quality. It took a few extra listens to get into than usual and still leaves one wanting more, but it's hard to imagine things any other way. Definitely a solid recommendation and a well deserved entry into the Billboard's Top 40.

Highlights:
"Armory"
"Pig"
"Bitter Pill"
"Freedom Rings"
"In The Name"

Originally published at http://psychicshorts.blogspot.com

There is no doubt that Overkill is, quite possibly, the hardest working band in metal. At one point they were touring like mad men to the point that front man Bobby "Blitz" Ellsworth had a stroke on stage in 2002 and it still didn't stop him or this band. They were surely hit or miss in the 90s after going into a more groove metal direction but in 2010 they did a return to form with Ironbound and again with the follow up, 2012's The Electric Age. So here we are in 2014 hoping this veteran band will make it three in a row and keep the momentum going with their new release, White Devil Armory. Strange title, I know, but for the most part this album is on par with last two.

This band has always had the ability to throw down some killer thrash riffs and this album is chock full of them. After a useless intro, they kick your ass with "Armorist." Although this song has some of the dumbest lyrics in metal this song is a kick ass opener. It may not have the staying power of other songs on this album but the riffs slay and the thrash tempo is a neck breaker. Halfway through they groove it up a bit then go into a monster solo. "Down to the Bone" has that classic Overkill mix of thrash and groove to make for a really good song. The riffing, along with that signature D.D. Verni bass sound, just reeks of the old days. Again we have another killer tasty solo making this song one of the more memorable on the album. And Blitz sounds like he's still 25. His range has not changed a bit and his screams and laughs are pure fuckin' evil. "When There's Smoke..." is just a monster song with some serious riffing and an angry thrash tempo that will give you a stiff neck if you're not careful. I mean, come on, with D.D. Verni's background shouts "When there's smoke, there's fiiiyerrr" what's not to like?

"Bitter Pill" has a dark feel to it but has some kick ass riffing and is even a bit on the epic side. The bridge leading to the chorus is catchy throwing some melody into the mix here. This song is quite different than most on the album as it has many components to it. The groove riffing in the middle adds even more dimension to the song. My only complaint is that the solo seems to be incoherent and all over the place with no direction to it. This song is almost six minutes long but it doesn't seem over long like the previous song "Pig." That song has some nice riffing but it seems to lack direction. The chorus seems to irritate me a bit and the solo is just lack luster. What a difference in songs, one right after the other. "It's All Yours" is so beautifully simplistic but is so catchy. The riff has a cool groove to it and even when it slows a bit in the middle it keeps your attention. The solo on this song is another great shredder and makes up for some of the lack luster soloing on some of the other songs. One thing you can't accuse this album of is lack of variety.

"King of the Rat Bastards" is a thrasher through and through with some killer thrash riffs and some grooves and melodies that make this song quite catchy. Then you have just a straight up riff fest called "Another Day To Die." This song has some of the best riffs of the album and with just a hint of melody thrown in makes this one of my favorites on this album. The solo could have been a little better but overall it doesn't take away from the song. This is just another example of the variety of sounds on this album.

At the end of the day this is an excellent album with just a few flaws. It doesn't hit me like the previous two did but it's still nothing to turn your nose at. This is the band's seventeenth full length album and that, in and of itself, is an accomplishment. They are keeping the momentum going and it appears that they are not slowing down at all. Instead, they are writing a new chapter in the annals of the Green and Black and, by all means, you should be part of it.


http://elitistmetalhead.blogspot.com/

There's a sinister character skulking about in the shadows, packing an entire arsenal of pure destruction and ready to lay down a world of hurt on the anyone getting in his way. Conspiracy theories run rampant about his hidden intentions, the word is out on the street that he's responsible for all the pain in the world, and even the likes of Louis Farrakhan can't go for 5 minutes without mentioning him by name in relation to some pinnacle of suffering and evil. But all kidding aside, this thing which bares a rather ironic title is the latest handiwork of the original New York wrecking crew themselves, and comes complete with all the goodies that one can hope for out of the post-Horrorscope era. As with the past few offerings, White Devil Armory is an album that is rooted in the old school of neck destroying thrash metal that has become big again in the past 8 years, but comes in a somewhat more well-rounded package than before that takes note of the goodness that came with the early 90s and even some of the slower, grooving material that Overkill had dabbled in while the rest of thrash metal had retreated from the scene.

Ecstatic fans who ate up everything on their plate when Ironbound and The Electric Age were served up on a stainless metallic platter need not fear, for the usual treats are evenly littered throughout the entire listen. The first three appetizing dishes of speeding mayhem to hit the ears definitely point to an obligatory consistency that most would insist upon, but also go well beyond the call of duty. After a massive sub-minute intro track that listens almost like a Manowar meets Viking metal war call, the album's lead off single "Armorist" pummels at full speed with about the same level of intensity and number of hooks as "Bring Me The Night". It's a testament to that age old truth of sticking to what works, but it also comes in a slightly chunkier package, particularly the guitars which sound remarkably similar to Metallica at their absolute heaviest. "Down To The Bone" repeats the same mode of speed and brevity, though it takes a few mid-tempo breaks to allow for a slightly more early 90s character during the vocal sections. "Pig" is also quite fast and percussive, but veers a bit more in a hardcore direction in terms of riff work, despite clocking in a bit longer than the two previous songs.

The center part of the album is where things get a bit more varied, although in stark contrast to some of this band's more experimental moments (think "The Years Of Decay" and "Promises"), nothing really veers off into ballad territory. "Bitter Pill" shifts gears into a more mid-tempo, groovy character with a lot of emphasis on melody and detailing, reminding heavily of the stronger material heard on Necroshine. "It's All Yours" also takes a slower, groovier road, but relies a good bit more on crunch and definitely points to the punchier work on Bloodletting and Killbox 13, as well as mixing in some occasional clean singing out of Blitz to contrast with his sleazy snarls and shrieks. But when all is said and done, the ultimate colossus of a masterpiece that just destroys the competition is the epic riff extravaganza "Freedom Rings", cycling through one insane thrash fest to the next like the deranged cousin of Metallica's "Battery" mixed with this band's own high speed work on The Years Of Decay, to speak nothing for the brilliant bass work out of D.D., which is a bit reminiscent of Cliff Burton at a few points.

While it's a pretty safe assumption that this is the weakest of the three latest Overkill albums, the company that it keeps allows for a lesser work to still be comfortably nestled in classic territory. There are a few points on this album where their less well-regarded handiwork from 1994 through 2007 makes an appearance, albeit in a very limited and tasteful manner, which results in an album that sounds a bit less 1986 and a little more 1991. This may cause a slight degree of disappointment in people who prefer their thrash to be along the lines of Reign In Blood and Pleasure To Kill, but it's not really a negative otherwise. It's still possessed of that same signature New York attitude of a slightly less complex format and a slightly greater degree of punk attitude, But above all else, despite the pale, grayish look exterior, this old warhorse shows no signs whatsoever of slowing down. No matter what the year, Overkill has another corpse.

I had the inverse response to many Overkill fans over the course of the last two albums, finding The Electric Age more memorable and explosive than its predecessor Ironbound, which of course was the group's most viral effort since at least the earlier 90s, but I don't think there's any question that the incessant New York thrashers have found a new lease on existence this new decade which has catapulted them back to the levels of legend they deserve...and depending on whom you ask, have always maintained. White Devil Armory (which seems to me like it could be a syllable too long due to some last minute chickening out on the part of the band) is now the group's 17th full-length, and yet there is evidently no tiring of the joints or phoning in of much, just a solid, appreciably intense effort which throws a modicum of unused riffing phrases into the arena, but otherwise seems like business as usual, neither one of their strongest works nor worst by a long shot...

The deal sealer has always been the relationship between Blitz' pissed off, charismatic raving and the pulverizing guitars, and the bonds have been renewed here since these guys can still really knock out a verse/chorus structure without ever lapsing into tedium. That said, there are a lot of individual vocal lines in tunes like "Bitter Pill" which certainly recall older tunes, and I also believe more of a groove metal element akin to their 90s material. For instance, in that very same song there's a lot of low end thrash chugging redolent of early 90s Pantera, and in fact a lot of what Tailer and Linsk are playing on this particular album reminds me of Dimebag's technique, with the harder concrete grooves being supplemented with some melodic finesse, bluesier bluster and bar room attitude. That's not always a bad thing, unless you've got an eternal hate-on for the style, but those expecting the purest of thrash and speed experiences (Taking Over, Feel the Fire, etc) out of this disc might find parts of it to mirror an era of Overkill they don't really care to revisit. Only parts, I assure you, since so much of this is just uncaged bricklayer blue collar aggression reminiscent of the bigger label thrash masters of the 80s, with not only nods to their own legacy, but riff progressions akin to those found on records like Master of Puppets (listen closely to the picking through "Freedom Rings") Fabulous Disaster, etc.

On the production front, Overkill has rarely proven anything less than professional, and this one maintains that severely punchy, compacted rhythm guitar tone which goes for maximum impact in the listener's guts...effects are left to the atmospheric, melodies which almost always do their job of standing out due to the sound alone. The drums feel incredibly mechanical and clean, as if Lipnicki showed up with new cybernetic parts, but still human at the core. Loads of double kicks to help the and keep that harder relevance. This is not a band which has ever shunned the evolution of their medium...not that they've fully embraced it, but clad themselves in this or that technique to keep themselves 'current'. On the other hand, D.D. Verni's distinct plopping bass lines are fully intact, at this point on of their most recognizable characteristics alongside Ellsworth's singing. The leads did not always catch me, but it's obvious they try to, with scads of little licks in there that uphold the melodic ballast and variety of the rhythm guitars. However, the simpler melodies they'll toss onto a verse or bridge almost always give the music that extra something which pushes it up past mediocre.

Very few problems with this, and I can't really explain in much more detail why I don't like this quite as much as The Electric Age, but on the same fundamental level as Ironbound, beyond the fact that the songs just don't individually grip me as a handful did back in 2012. Rotten apples to squeezed oranges...it's an Overkill record, and if you've heard anything they did in the late 80s (Under the Influence, The Years of Decay) or really, EVER, then you're not going to surprised by a single second of this fucking music. If you're one of the old guard, you can crank this on your Harley while you cruise the strip in a tank top and combat boots, and still justify to yourself why this is one of your favorite fucking bands on earth and always will be. The attitude stays the same, as does much of the songwriting. Blitz and crew have never teased us with massive upswings in progression/evolution, and they're sort of grandfathered into just living up to a standard that they set so long ago. White Devil Armory is worthy of the brand, like a reliable steakhouse that you'll always fall back on when your significant other concedes a dining choice from one of her usual, eloquent and exotic Thai, Vietnamese or Indian haunts. Take a knife and fork and dig right in. Medium bloody. Wrought with iron. Just like the last few trips.

-autothrall
http://www.fromthedustreturned.com

Lack of variety was a concern leading up to White Devil Armory, as the band has been rehashing the same formula with minor tweaks since Ironbound dropped four years ago. On one end of the spectrum, you can't really blame the band too much for settling into a groove that has definitely kept the tour bus rolling and the fans more than satiated, but I for one was hoping for a more comprehensive mish-mash of everything the band has given us up to this point. While The Electric Age was undoubtedly a nose-to-the-grindstone thrash effort with few atypical or uncommon elements, I got the most individual mileage out of songs that at least attempted to break the mold a bit. "Come and Get It," "Drop the Hammer Down," and "Endless War" were all great highlights that featured either a killer groove, a massive layered chorus, or both. It is rare that you actually get both, but when you do it is a divine experience that proves that there is lasting power in this lineup - a lineup that I have made no secret of my disdain for in the past.

It can be frustrating at times, because Linsk is easily the most technically accomplished guitarist to represent the band. Despite being credited as a guitarist for most albums he has appeared on, Tailer actually doesn't play on them, so the weight is set upon Linsk's shoulders alone. His riffs are generally solid, paired with a nice throwback aesthetic to the leads, but he just lacks that "feel" that Gustafson, or hell even Gant and Cannavino had. His licks are also irritatingly uncatchy, an issue that continues here on White Devil Armory, which is for all intents and purposes Ironbound all over again save for a couple of rather impressive deviations from the norm.

The first issue is that the proceedings don't get off to an amazing start, with the pointless instrumental "XDM" and "The Armorist" being two of the less interesting cuts here. The latter is a decent pit-opener and is quick and cheerful in its delivery, but really lacks staying power. Hell even Immortalis was wise enough to place its strongest track first ("Devils in the Mist"), but patient ears will naturally be rewarded. "Down to the Bone" has a memorable, borderline catchy chorus that is simply something you don't get too often from modern Overkill. The riffs clang and bang at a solid timbre, and Blitz is tolerable on the whole. He has dropped much of that bluesy inflection that was a crutch on ReliXIV and Immortalis, so kudos for him in that regard.

Now don't kill me just yet, but I find that some of White Devil Armory's greatest moments revolve around some of the killer grooves. Much criticism has been leveled over the years regarding Overkill's use of groove in the past, and while most of this is grounded in fact, one can't deny that the band pulled it off better than most. Check out the dank and dreary "Bitter Pill," which fucking brings the house down and features bouncing and bobbing lyrical patterns that hail back to "Long Time Dyin'" and coalesce brilliantly with the lead during the chorus. "It's All Yours" rides a single monster groove for most of the duration, but oh what a beautiful riff it is. There is a lack of speed overall compared to its predecessor, but tracks like "Where There's Smoke..." thrash front to back and help keep the variation high.

I can do without the faceless and overlong "Pig" and the irritating chorus of "King of the Rat Bastards," but hey you can't complain too much here. I also find that Verni's backing vocals are used in a much more appealing way this time around. Usually his contributions sound fucking pathetic, but he barks some entertaining lines like during "Where There's Smoke..." belting out lines like "Turn off that fucking light!" - the hell? Overkill have never been poet laureates for sure, but it at least got a chuckle out of me. A final mention has to be made of "In the Name," which features an operatic, almost militaristic drive to its chorus that serves as a great closer and collective hail to all that the band has stood for up to this point.

So overall, it isn't a bad deal at all. I would have wished for a bit more of the Iron Maiden-esque leadwork that Linsk occasionally injects into his output (save for a short section of "Freedom Rings"), but most fans shouldn't have a problem with White Devil Armory. I know I really don't, and that should speak for itself.