Anthrax survives internal chaos to unleash Worship Music
Anthrax
Worship Music
Megaforce
By Thom Copher
The reality of Anthrax having finally released a new album - Worship Music - is, by many definitions,
just shy of a miracle. Eight tumultuous years have passed since the band's last LP, We've Come For
You All, and with the ever-changing landscape of heavy-metal music (not to mention that within the
band, itself), the obvious question has been raised: Is there relevance for a long-dormant veteran
band to fire it up once again?
The answer is a resounding YES on at least a couple of counts. First, pure old-school thrash-metal
has enjoyed a resurgence since The Big Four concerts (ie: Anthrax sharing the stage with fellow
thrash forefathers Metallica, Slayer and Megadeth) surfaced last year. Being that Anthrax defined
one of the dimensions of thrash back in the 80s, it is only logical that the band should pony up at this
opportune moment. Most importantly, though, it must be recognized - right here, right now - that
there is still plenty of fuel left in the Anthrax tank as is evident with the non-stop barrage heard on
Worship Music.
The album begins with the 1:41 monotonic drone of "Worship" which essentially serves as a portal for
the delivery of things to come. The first real song, "Earth on Hell" rifles in and, honestly, I would
Worship Music
Megaforce
By Thom Copher
The reality of Anthrax having finally released a new album - Worship Music - is, by many definitions,
just shy of a miracle. Eight tumultuous years have passed since the band's last LP, We've Come For
You All, and with the ever-changing landscape of heavy-metal music (not to mention that within the
band, itself), the obvious question has been raised: Is there relevance for a long-dormant veteran
band to fire it up once again?
The answer is a resounding YES on at least a couple of counts. First, pure old-school thrash-metal
has enjoyed a resurgence since The Big Four concerts (ie: Anthrax sharing the stage with fellow
thrash forefathers Metallica, Slayer and Megadeth) surfaced last year. Being that Anthrax defined
one of the dimensions of thrash back in the 80s, it is only logical that the band should pony up at this
opportune moment. Most importantly, though, it must be recognized - right here, right now - that
there is still plenty of fuel left in the Anthrax tank as is evident with the non-stop barrage heard on
Worship Music.
The album begins with the 1:41 monotonic drone of "Worship" which essentially serves as a portal for
the delivery of things to come. The first real song, "Earth on Hell" rifles in and, honestly, I would
have thought that I was listening to the aforementioned Slayer had I not known better. The tune makes a bold musical statement, containing all of the key thrash/speed
elements: a break-neck pace interwoven with razor-sharp riffs which roll in and out of mosh-inducing phrases. "Earth on Hell" is, quite possibly, the band's most
bludgeoning tune ever and thematically lays the groundwork for the apocalyptic aura contained on the album's first several tunes.
elements: a break-neck pace interwoven with razor-sharp riffs which roll in and out of mosh-inducing phrases. "Earth on Hell" is, quite possibly, the band's most
bludgeoning tune ever and thematically lays the groundwork for the apocalyptic aura contained on the album's first several tunes.
Anthrax: Scott Ian (rhythm guitar), Charlie Benante (drums), Frank Bello (bass), Rob Caggiano (lead guitar) and
Joey Belladonna (vocals). Worship Music, the first new album in eight years, punctuates the band's definitive sound.
Joey Belladonna (vocals). Worship Music, the first new album in eight years, punctuates the band's definitive sound.
"The Devil You Know" (the first single) and "Fight 'em 'Till You Can't" (a neat tune
about battling zombies) continue the barrage with Scott Ian (rhythm guitar), Frank
Bello (bass) and Charlie Benante (drums) punctuating many of the band's trademark
strengths. If anything surprises me about Worship Music, it is how awesome
vocalist Joey Belladonna sounds. After all, it's been over twenty years since he
last recorded with the band and his airy wails from yesteryear could have easily
yielded to a more lower-registered growl. Kudos to Joey, though... he digs deep
and gives the "Thrax minions that which they've demanded since his initial
departure. My inaugural reaction was that these songs could have existed
sometime between 1990's Persistence of Time (my long-time favorite Anthrax
disc) and '92's Sound of White Noise. Make no mistake... this is not a case of
weathered riffs rearing their heads. If nothing else, it's a testament to the
staying power of the music which has influenced everything which has come down
the pike over the past twenty-plus years.
"I'm Alive" is one which is destined to be an in-concert staple - echoing
Metallica's "The Guard's March" snippet from its "Frayed Ends of Sanity" - and is
followed by the Ronnie James Dio/Dimebag Darrell homage "In the End." Worship
Music continues - "The Giant," "Judas Priest" (oddly enough, NOT about Rob
Halford and Company), "Crawl," "The Constant" and "Revolution Screams" - with
the band playing to and (to a degree) redefining its strengths. I have to mention
about battling zombies) continue the barrage with Scott Ian (rhythm guitar), Frank
Bello (bass) and Charlie Benante (drums) punctuating many of the band's trademark
strengths. If anything surprises me about Worship Music, it is how awesome
vocalist Joey Belladonna sounds. After all, it's been over twenty years since he
last recorded with the band and his airy wails from yesteryear could have easily
yielded to a more lower-registered growl. Kudos to Joey, though... he digs deep
and gives the "Thrax minions that which they've demanded since his initial
departure. My inaugural reaction was that these songs could have existed
sometime between 1990's Persistence of Time (my long-time favorite Anthrax
disc) and '92's Sound of White Noise. Make no mistake... this is not a case of
weathered riffs rearing their heads. If nothing else, it's a testament to the
staying power of the music which has influenced everything which has come down
the pike over the past twenty-plus years.
"I'm Alive" is one which is destined to be an in-concert staple - echoing
Metallica's "The Guard's March" snippet from its "Frayed Ends of Sanity" - and is
followed by the Ronnie James Dio/Dimebag Darrell homage "In the End." Worship
Music continues - "The Giant," "Judas Priest" (oddly enough, NOT about Rob
Halford and Company), "Crawl," "The Constant" and "Revolution Screams" - with
the band playing to and (to a degree) redefining its strengths. I have to mention
a couple of things here: Lead guitarist Rob Caggiano has quietly established himself as both a showcase player and meticulous arranger within the band's camp -
essentially, Anthrax would not exist without his participation. Too, Benante and Bello substantiate their positions as masters of their respective domains. (Frank, how do
you get that ambiance that is nestled somewhere in between Lemmy and Steve Harris? Killer, killer, KILLER bass sound!!)
Now, I have mentioned the chaos which nearly stifled Worship Music before it even got out of the gate. Worship Music was actually completed a couple of years ago with
vocalist Dan Nelson and, for what ever reason, the project was scrapped. O.K., get your scorecards out. It was then speculated that John Bush, who fronted the band
for twelve years as Belladona's replacement, would return to the fold on a permanent basis. However, the band tapped Joey for a third time (he participated in the
Anthrax "reunion" from 2005-7) and subsequently reworked the entire album and - badda-bing - Worship Music was unleashed. Mind you, this is the condensed version,
but you get the idea.
Produced by Caggiano - who's also the main force behind the award-winning Scrap 60 production team - Worship Music can be defined as the band's labor of love for the
thrash genre. It is furious and relentless, refraining (thankfully) from treading on the nu-metal sound which owes heavily to what Anthrax pioneered in the first place.
Neither does it attempt to be the next Among the Living - decidedly, that's not the album's aim. Thirty years in, it would be rather pointless for Anthrax to re-emerge
as anything but one of the integral components of one of heavy-metal's most influential periods. Simply, and without apology, it's time once again time to MOSH IT UP!!
essentially, Anthrax would not exist without his participation. Too, Benante and Bello substantiate their positions as masters of their respective domains. (Frank, how do
you get that ambiance that is nestled somewhere in between Lemmy and Steve Harris? Killer, killer, KILLER bass sound!!)
Now, I have mentioned the chaos which nearly stifled Worship Music before it even got out of the gate. Worship Music was actually completed a couple of years ago with
vocalist Dan Nelson and, for what ever reason, the project was scrapped. O.K., get your scorecards out. It was then speculated that John Bush, who fronted the band
for twelve years as Belladona's replacement, would return to the fold on a permanent basis. However, the band tapped Joey for a third time (he participated in the
Anthrax "reunion" from 2005-7) and subsequently reworked the entire album and - badda-bing - Worship Music was unleashed. Mind you, this is the condensed version,
but you get the idea.
Produced by Caggiano - who's also the main force behind the award-winning Scrap 60 production team - Worship Music can be defined as the band's labor of love for the
thrash genre. It is furious and relentless, refraining (thankfully) from treading on the nu-metal sound which owes heavily to what Anthrax pioneered in the first place.
Neither does it attempt to be the next Among the Living - decidedly, that's not the album's aim. Thirty years in, it would be rather pointless for Anthrax to re-emerge
as anything but one of the integral components of one of heavy-metal's most influential periods. Simply, and without apology, it's time once again time to MOSH IT UP!!