Overkill - Horrorscope

In late 1991 into 1992, Thrash Metal was more or less at the end of its glory years. Metallica's extremely successful and commercialized (but enjoyable!) self-titled 'Black' album, along with the original rise of Grunge, had begun to lay the commercial progress and viability of Thrash Metal to waste. MTV and radio outlets all across the United States were now becoming increasingly concerned with discovering and promoting the next breakout artist, hit, and album instead of pushing forward and promoting new music from established acts with several years and albums to their credit. For the majority of these 'career' artists in the confines of Thrash Metal, this meant following Metallica's lead set forth on the aforementioned 'Black' album by simplying song structures, utilizing slower rhythmic tempos, and incorporating more groove elements into their songs. One-by-one, bands including Megadeth, Anthrax, Testament, Annihilator, and several others would follow this trend over the next several years in an attempt to maintain a commercial presence in the face of a changing Rock/Metal musical landscape during the 90's.

Overkill is another such band that would be no exception to this fact. However, before Overkill would likewise shift it's musical direction from 1993 onward, the band would release one last pure Thrash Metal assault that would more or less solidify the band's legacy as one of the greatest practitioners of Thrash Metal during the genre's greatest period of success (musically and commercially).

Overkill's 5th studio album, 'Horrorscope', was released on September 3rd, 1991. The band had recently parted ways with original guitarist Bobby Gustafson over the course of the prior year and a half. For many fans, this was a cause for concern as Gustafson had been one of the band's principal songwriters on the previous 4 albums and was most definitely a major reason for the band's success up to that point. Add that to Gustafson's exceptional Rhythm and Lead guitar skills that rivaled the likes of Thrash giants such as James Hetfield, Dave Mustaine, Scott Ian, and Lee Altus, and it's easy to see why Overkill's fanbase would enter into the new album with some apprehension.

However, 2 new guitarists in Merritt Gant and Rob Cannavino were recruited into Overkill in order to expand the band's sonic palate and introduce a new 'dual-axe' attack that the band had not previously had the luxury of utilizing in both studio and live situations. Simply put, the results of bringing Gant and Cannavino into the fold were more than spectacular. For all of the accolades and success that Overkill's 1989 album, 'The Years of Decay', had enjoyed, 'Horrorscope' simply would up the ante and surpass its predecessor in terms of speed, heaviness, brutality, and musicianship...all band members included. Fortunately, the album also received a strong production, courtesy of producer Terry Date, that allowed the band to retain thick and solid guitar, bass, and drum sounds that were progressing and continually improving on the previous few albums.

The album opener 'Coma' begins on a dark, but melodic note with an extended clean guitar intro that is somewhat reminiscent of Metallica's album intros in their works throughout the 1980's. However, 'Coma' soon launches into a pure speed fest that most definitely convinced many loyal Overkill fans to that point that the band still belonged among the ranks of Thrash Metal's elite artists. The intensity continues throughout the rest of the album's songs including 'Infectious', 'Bare Bones', and 'Live Young, Die Free' that respectively feature the elements of speed, controlled chaos, and complex and progressive song structures. Elsewhere, the band also makes use of atmospheric and slower, 'doom-metalish' elements in the album's title track 'Horrorscope', which notably had its own music video prominently featured on MTV; one of Overkill's last crowning acheivements as a so-called 'viable' commericial Thrash Metal artist before the previously mentioned Rock/Metal restructuring. Additionally, the band also showcases its sense of melodicism and introspection in the album closing ballad entitled 'Soulitude.' All of these elements are spread throughout the album in different amounts and mixtures among the album's 11 tracks and combine together to create a 53 minute experience worth sitting down and getting lost in for the sake of admiring the band's instrumental showcases or thought-provoking lyrical contents.

Without mentioning the other tracks on the album that not are not highlights (though they are also very memorable and are worthy of several more paragraphs in their own right), 'Horrorscope' is simply one of the last true examples of old-school Thrash Metal that has stood the test of time in the years following its release. Guitarists Gant and Cannavino execute and deliver some of the most memorable guitar riffs, rhythms, and solos ever featured in Overkill's music before or since their arrival and later departure from the band. Bassist D.D. Verni plays more 'in the pocket' with less bass guitar fills and deviations than he had utilized in the previous few albums, but he nonetheless delivers a solid performance worthy of praise. Vocalist Bobby 'Blitz' Ellsworth once again proves that he is one of Thrash Metal's most under-rated frontmen through his writing of inspired and thoughtful lyrics concerning rebellion, death, introspection, and other topics, and his delivering of such lyrics with his convincing trademark snarl. Lastly, drummer Sid Falck, who would be playing on his last album with the band, delivers complex drum patterns, creative fills, and pure intensity that ranks him among some of Thrash Metal's all-time best drummers.

In closing, this album truly stands out as one of Thrash Metal's last triumphs before the genre's eventual downfall from commerical viability and recognition. Undeniably an essential album in the rich history of Heavy Metal, the band would never quite recapture the raw, intense, and aggressive 'near perfection' that it had acheived upon unleashing 'Horrorscope' to the masses in late 1991...