Riding in from Hell a year after the uneventful "Under The Influence", Overkill unleashes "The Years of Decay", oft considered the band's end-all album and a monolith in tech-thrash. Coming off the absolute rager that was "Under The Influence", one of my personal favorite albums from the entire genre, Overkill offers a sort of "both worlds" approach on "The Years Of Decay". Everything just works on this album; from the thrashier and speedy moments in songs like “Elimination”, to the mid-paced songs such as “Who Tends The Fire”, and to the slower doom / Black Sabbath influenced songs like “Playing With Spiders / Skullcrusher”: it just works. By 1989, Metallica had released the groundbreaking Master of Puppets and then further demonstrated their progession in sound through ...And Justice For All. The Years of Decay is one of the good albums! just didn't agree with the Cliff thing. Hell the riff and melody in Nothing to die for sounds like it would fit on .... and Justice For All almost perfectly only here we have a bass guitar and E.vil N.ever D.ies has an intro that is almost certainly inspired by that of the Metallica track Damage Inc. My point is even the great thrash bands wear influence clearly. :thumb: Haha, quite a few of my reviews don't really get to many comments either.

You want lessons on how to remain on the artistic role-call whilst still broadening your sound? I still can't comprehend how so many people claim that this is Overkill's best album. Think of the Overkill debut, Feel the Fire, that’s what it sounds like to me. While it's one of my favorite thrash albums of all time, it's still not my favorite of 1989, as there's just a few minor faults with the album.

Album Rating: 4.5 | Sound OffGreat review. The legendary New Jersey thrash band was coming off their 1988 release; and while Under the Influence is another solid product, it didn't build off their two previous albums. In many ways they’re the archetypal thrash band; it’s often said that thrash is “Judas Priest played by a punk band” who else but Overkill actually sounded like this? The second half of this album is a mix of more insanely thrashing good fun and some experimental songs that rival longer works by other metal outfits. Then of course, there are the face-ripping fucktracks, because this is Overkill, and if they did not fuck you and rip your face, they would not be. They are going to be fast and energetic and aggressive as all hell with a punk attitude and killer riffs. A balls-to-the-wall slab of uptempo thrash that is a final return to what Overkill do the very best. The violence shown in several years is more “focused” and filtrated through technique, without loosing anything in impact and even growing in interest and attraction. Album Rating: 4.0I agree with you about Who Tends, I love the slow parts but that fast section is a bit of a turn off. Aside from Blitz being his usual self, I have found that this album’s one true flaw is an occasional feeling of unoriginality. This album is just overall very well written and a classic for its time period. WILL IT EVER DIE!? Every track is vicious and purposeful, my only critique would be that some fat could have been cut off on the runtime. Everything sounds crisp and tight from the instruments to Blitz’s vocals having equal footing. I love that I can distinctly hear D.D. Congratulations, evil never dies!!! History has shown that departures from your classic sound and style can backfire but they managed to pull it off.

But this album features the ten minute "Playing with Spiders/Skullcrusher" and two additional eight minute tracks.

Too bad, because in my opinion they should have made this track longer and shortened longer songs. node.parentNode.insertBefore(gads, node);

What starts as acoustic rock builds up to an epic ending, succeeding where "Who Tends The Fire", a plodding, going nowhere 8-minute excursion failed. "Time to Kill" paints a picture of a society which is suffocating in various ways, through religion and other means. The bridge features one of the most crushing riffs the band would ever write, and the slow crescendo of malice with Blitz raining down a litany of abuse upon the subject of the song, climaxing with a near orgiastic release of venom, stands as my all time favorite moment in Overkill's entire discography (and that's keeping in mind that Feel the Fire is one of my all time favorite albums and every song on that one is a flawless classic).

They say metal is made by angry young men for angry young men, and I can think of few better examples of this than Overkill’s legendary fourth album The Years of Decay. Something that sets them apart from the crowd. Where other bands sold out and changed their sound to be more radio-friendly, Overkill have always stayed the good old Overkill. Ironically this would also come to signify the end of the era for the band with Bobby Gustafson as the sole axe man, but also signified in the title is the assertion that Evil is forever, and as one can readily observe on “Horrorscope” and the bulk of Overkill’s releases afterwards, this band is unmoved and unbroken by the tides of time and public opinion. Bobby Gustafson gives some excellent solos on this album. Verni's bass throughout each track. top:30px; This album is Overkill's response to Master of Puppets, the band was determined to surpass them using their brand of punk inspired thrash. The riffs are like 90% Overkill, with only one glaring "homage" that stretches the definition to dangerous territory, the attitude is the inimitable Jersey swagger that Overkill always had, the vocals are worlds apart considering Blitz is probably the most instantly recognizable frontman in all of thrash, Sid Falck is obviously leagues ahead of Lars Ulrich in terms of percussion, it's a lot simpler and less ambitious, et cetera. Not that the New Yorkers ever stumbled as hard as the more popular Californian speed/thrash royalty like Metallica, Slayer and Megadeth, but there was this span of decades where the band was just not capitalizing on the promise of the first few albums, and it became a tiresome process to behold, especially when one compares it to their generally electrifying live gigs that have always been a pleasure to experience. then, almost a second intro, here comes Skullkrusher, blaring in with noise, pounds you upside the head approximately 85 billion times with a brick approximately as large and ugly as Detroit, then two more blasts of slightly longer thrash... akin to Feel the Fire (the title track)... finally, Years of Decay riffs on for eight minutes, then the little intro (which totally rips off Damage Inc, haha) and finally OVERKILL PART FOUR... (Don't believe me?

"Elimination" is worth noting for its strong chorus and Metallicaesque riffs, "I Hate" is made memorable by lyrics that sound incredibly whiny if someone else other than vocalist Bobby “Blitz” Ellsworth was singing them (“I hate people that make you feel small/I hate having my back against the wall/You know, I hate being talked down to”), and "Birth of Tension" is made distinct by even stranger lyrics during the bridge (“did you kill your father, sleep with your mother/idolize your sister, jealous your brother/did ya kick the dog, were you beat a strap/were you really be abused, were you fakin' all that too”). Yet the term is eschewed into being given more meaning. On ‘Playing With Spiders / Skullkrusher’ the band achieved writing an inspiring 10 minute doom-thrash epic that might take some time getting used to but looking back can be considered a daring anthem. “Nothing to Die for” is another anthem of angst superimposed against a series of great thrash riffs, some of which sound like an even more speed driven version of Metallica’s “Blackened”, not to mention one where we can actually hear the bass.

There are also good lyrics though, most notably in “Elimination” (which deals about a person who has been diagnosed with a fatal disease) and in “The Years of Decay”. IS IT DONE!".

It plays off Bobby's guitar nicely and establishes a powerful low end to the music.

Luckily the intro quickly ends and we are treated with an awesome headbang moment. Overkill wasn't trying to "steal" anything, but they were clearly trying to replicate the success of Master of Puppets and And Justice for All with this one. if ( xhr === lastXhr ) {

The song "I Hate" is almost a mixture of regular Overkill and The Offspring, having a very pop punk aesthetic to it. With some albums emerging from the masses and with others unfortunately being generic and dull.

ELIMINATE THE STRONG!! Phil Collins' "Take Me Home" is about a patient in a mental institution and was inspired by the novel One Flew Over the Cuckoo's Nest.
Being that I love this album and Overkill is an iconic band, I feel obligated to come to Overkill's defense. After this point, the album throws a number of curve-balls with a number of extremely long, progressive tracks. 1) A few traces of unoriginal songwriting can be found on occasion On your feet you feel the beat It goes straight to your spine Shake your head, you must be dead If it don't make you fly. Did you notice that coincidentally around the same time Megadeth stopped pandering to radio play so blatantly and started playing thrash-lite again, Overkill just so happened to do the exact same thing?

They were always a few cars back, usually being extremely good at whatever they're doing (the other four albums out of the first five illustrate this quite well), but always emulating what the bigger names in American thrash were up to. }], Overkill wasn't trying to "steal" anything, but they were clearly trying to replicate the success of Master of Puppets and And Justice for All with this one.

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