Artist: Overkill
Label: Metal-Is
Release Date: 10/24/00
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Title: Bloodletting Artist: Overkill Label: Metal-Is Release Date: 10/24/00 |
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Abyss's Review:
While I can't claim that Overkill is my favorite band, I would be hard pressed to name a band that I respect more. Overkill, to me, have always been the definition of uncompromising. They did the thrash thing along with the best of them when it was cool, and continued doing it better than anyone else once it wasn't cool anymore. And while they've never dominated the metal scene, they've never fallen behind either. The way I see it, whether you're a fan of this band or not, they are the benchmark by which all other metal should be judged. They've never had a bad album, their weakest was probably Under the Influence, but even that had a couple of classics on it ("Drunken Wisdom," "Overkill III," e.g.), and because of this they've earned the fierce loyalty that they receive from their fans.
Photos by Cynthia PelznerThis brings us to their latest offering, Bloodletting (cool fucking title, by the way). And I'm actually not surprised that, on first listen, it comes across as a little unremarkable. They are still the epitome of thrash, refusing to bolster their sound with anything even remotely trendy. You won't hear Blitz experimenting with death growls or black screams, and the songwriting remains very 80s in structure and presentation. But this isn't to say that this band sounds dated or stagnant by any stretch of the imagination. Upon repeated spins this disc blossoms into a pleasurable listening experience that brings back the warmth that makes thrash stand out amongst the rest of the extreme genres. Death and Black Metal may be able to brag about being more brutal and evil, but they can't claim to have more power.
Perhaps the reason that Overkill is able to stay so true to their sound, while not sounding like a satire, is merely due to the fact that the sound echoes integrity throughout the disc. Blitz's vocals remain unchanged, remaining a vocal bouquet of razorblades, elating and shredding at the same time. Newcomer axeman Dave Linsk, seems to fit right in with the veterans, showing a knack for concise, pounding riffs that contain enough hook to keep their trademark sound going.
All in all, this album might win some new fans from the death and black scenes, especially with thrash-inspired brutality making somewhat of a comeback (Defleshed, The Crown, e.g.), but more importantly songs like "Death Comes Out to Play" will keep a smile on the faces of those who've been flying along with Chaly for the whole ride.
Death's Review:
Overkill return with their eleventh studio album entitled Bloodletting, and it is undeniably their best effort since W.F.O., and probably since Horrorscope. The last few records have been good, not always great, but solid -- Overkill had evolved into their sound and stuck to it. This was, of course, a major part of their charm. But there was a time when Overkill tore your fucking face off, with paint-peeling leads, thundering bass, brutal guitar riffing and screechingly urgent vocals. And the extremity and immediacy has been missing a bit from the band's 1990's output. So how did Overkill break though the malaise and produce a record which is arguably even more than a mere step better than we all expected from them? I don't know, but I have a theory: new blood.
Who is this Dave Linsk, anyway? Because as awesome as Horrorscope is, the major turning point away from the aforementioned characteristics was The Years of Decay. The last album where Overkill had one guitar player. Coincidence? Maybe. 'Cause Linsk plays at least two distinct guitar tracks over most of the album. But perhaps it has to do with his attitude or influence. Who knows. What I do know is that while the opener, "Thunderhead," fits right in with the other 1990's Overkill album openers, track two "Bleed Me" had a bit of a more intense soul, particularly on the "I remember sitting in the open air" part (just try not to sing along out loud "... face my fear... face my fear... face my fear!" along with the echo at the end), and "What I'm Missin'" is part "Coma" and part "Thanx For Nothin'". Kinda cool.
But the next track, "Death Comes Out to Play," is much, much more than that. This track is one of Overkill's best ever, and one of two clear highlights on Bloodletting. This one has the prophetic urgency and machine-like raw precision in its execution that it is the clear decendant of "Skullcrusher" crossed with "New Machine." Very, very cool. Hopefully this one will stay in the set for years (isn't that really what a new Overkill album is about?) "The hand of fate has struck me, I am afraid!" Blitz rules!!!!! Followed by multiple killer leads over thrashy beats. This track elevates Bloddletting dramatically.
Where do we go from here? "Let it Burn" comes back to earth with a traditionally mid-tempo Overkill stomper. Bass-heavy crunch. Cool, nothing amazing. "I, Hurricane" is a cool, standard choppy-Overkill song. That is until the rock-ride, Metallica's "One" -type, "ratta-tatta-tat" riffing which turns thing up towards the end. The mellow, drifting intro to "Left Hand Man" is faded into one of Bloodletting's most brutal moments. "Left Hand Man" is another Blitz-trademark, indirectly catchy musical indictment, and very cool, particularly the "Have I crashed, crashed and burned?" part. But the next standout track which rises to the standard set earlier by "Death Comes Out to Play," and perhaps challenges it for this album's lead position, comes next: "Blown Away".
I always liked, to varying degrees, the Overkill ballads, especially stuff like "Skullkrusher" and "Who Tends the Fire?" and "Years of Decay," and "Blown Away" fits right in. And when it comes in heavy, Blitz marches with the strength and confidence last so fully-displayed on the Horrorscope album. "Embrace your enemies, embrace your fear, embrace what you disobey! Kill what complicates you, hold it near, blow it away!!!" Awesome. Fantastic stuff, and exactly what I'm hoping for when I pick up a new Overkill album.
"My Name is Pain" is next and is the total opposite. A loud, thrashy, pounding intro smothered in dive-bomb guitar noise completely alters the "Blown Away" mood for a full-on thrashing and shouting assault. The band really does lock into a great groove by the second verse, and Blitz kinda goes off with an old-school rapid fire delivery. This should be fun live and provides a great fist-pounding melodic dual guitar-line ending (Joe Comeau?). The album winds up with "Can't Kill a Dead Man," with a killer, mechanical intro and a great bed for Blitz's unique style of catchy vocals. D.D. gets to clearly shout the backing chorus, and Blitz is clearly into his lines. Another potential live candidate, and very, very cool.
Overall, BloodLetting is another notch in the belt of these veteran thrashers. And it again reaffirms that, if anything, Overkill is becoming more in touch with what makes them great, not less. The electric-green metal machine rolls on, and we all need to get on board for BloodLetting. Overkill stands for everything that is right about heavy metal. "Death Comes to Play" and "Blown Away" are some of their best material in almost a decade. What else do you really need to know?
Hel's Review:
Welcome once again to a land called "Overkill", where the skulls have wings, "Charlie" is pronounced more like "Chaly", and thrash never went anywhere. It's a wonderful place, where the attractions are often updated (they've just unveiled their 11th full-length attraction!), and it's always a fun ride.
Anyone who's read my Years of Decay classic review (or my Coverkill review for that matter) has already heard me rant and rave about how they're my favorite band, yadda, yadda, yadda. It's in the archives, so if you care, go read it. Hell, I bet there's even links right here for you, ya lazy-ass bastards... I'll sum all that up with: as a general rule, I love all Overkill albums.
So I'm actually saying something when I state that this one is better than the last couple. Dave Linsk has injected new spirit into the band and the result is that the depth of the music has been raised a notch. And it certainly doesn't hurt that the guy is practically a virtuoso, and is well versed in his metal riffs.
Some may consider being distraught, because it may seem that Bloodletting is not as DD-centric (i.e., the bass is not the lead stringed instrument) as in recent years, but do not fear, he is exactly as much of a force in Overkill as he ever was. What really seems to have happened is a more balanced musical equation, with all of the parts evenly contributing to the whole sound.
Bobby is the same old Blitz. He exercises his range, gives us plenty emotive voices, and even includes a small dash of death metal screaming. It's all pleasant to ears that appreciate his particular talents. Tim's in great shape too, maintaining his role: always driving the madness.
The most noticeable difference from the last couple of efforts is a versatility and range of styles combined with that perennial Overkill sound. They've always progressed and incorporated newer styles in their music, but the combination they've achieved here is stellar. In particular the songs, "Blown Away", "Death Comes Out To Play", and "My Name Is Pain" are incredible. Check out the instrumental parts of "My Name Is Pain" - you'll catch yourself wondering if it's Overkill.
This fall, we've been inundated with incredible release after incredible release. How does a metalhead keep up and appreciate it all, not to mention affording it all? I think we should live by the Overkill example: endure and stay metal, no matter what life throws our way. Hey, I'm getting an idea... bloodletting... how much do pints go for?
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