Testament – "Para Bellum"

"This, right here, in a nutshell, is the reason that we love metal"

Although I've seen Testament live a good couple of handfuls of times since they reunited with original bassist Greg Christian and guitar maestro Alex Skolnick, the last album I heard of theirs was 2008's "The Formation of Damnation". Which didn't surpass its predecessor, 1999's "The Gathering", but nobody was expecting that anyway, because that album is virtually unreachable.

Either way, going by the reviews on Metal Archives, it seems that Testament's last coupla LPs might've been a bit run-of-the-mill. Well, judging by the band's 14th studio album, "Para Bellum", it also seems like the band might've become aware of that, and that they set out to not only counter that development, but possibly make thrash album of the year. And, shit, they may have succeeded.

Granted, let it be said up front that "Para Bellum" is one of those albums that wows you with its openers. But what a pair of openers they are. New drummer boy Chris Dovas gets to kick in the doors to "For the Love of Pain" along with a semi-tone riff that holds down both triggers instead of asking questions. Interchanging between apocalyptic blastbeats and animalistically savage thrash, everything's up in the red from the beginning. Not only does – are you ready for this? – SIXTY-THREE-year-old Chuck Billy's grizzly roar sound like he'd bite your face off; he's even incorporating an equally frenzied black metal snarl, only adding to the metal of everything.

And metal is exactly what this is. In fact, this, right here, in a nutshell, is the reason that we love metal. Even though the bridge has a bouncy feel, there is zero trend speculation going on. On the contrary, the black metal elements take over, a melodic tremolo riff supporting possessedly painful banshee screams. And shit, that eerily slow and naked mid-section with those screechy, demonic whispers is just as surprising as it is effective. And double shit, there's a goddamn bass guitar lead towards the end. When we call something "daring", it's often a euphemism for "failing, though"; this opener, however, is daring because it stakes high – and it wins disproportionately higher.

When veterans are still hurling out pure metal like this, there is no reason to bother for one second with any of that whiny, wimpy wigger core from this horrid century.

Most people were probably already familiar with first single "Infanticide A.I." whose status as exactly a single is exactly as daring, seeing as how it rips everything up almost as much as the opener. Its intro sounds like classic Testament, but then we're off into another fucking blastbeat and another mean riff with the attitude of hammers against anvils and faces alike. The verse thrashes as Testament does best – not only is this hella aggressive; it also encapsulates all the different versions of the band we've known throughout the last 40-ish years.

This latter sentiment especially also applies to power ballad "Meant to Be". And yes, you read that right: A pure, unapologetically arm-waving power ballad, strings and harmony lead and all. Sure, Testament succeeded in ballad territory with "Return to Serenity" from "The Ritual" ('92), but this one, upon its clean, almost baroque-like intro, follows the template of this one little 1984 classic, name of "Fade to Black", more than anything else. And double sure, those lyrics in all their self-aware melancholy may be considered cute more than anything else. But the whole thing brings back memories from that era when metal bands would suddenly bare their vulnerable emotions, and you'd be into it because it made for variation and breathing room amongst all those intense outlets of aggression.

And triple sure, "Fade to Black" may be the standard against which we measure ballads from thrash metal groups. But this one is more than justified. This is not the least due to Billy's honest and unspoiled singing, his vocals still stately, stoical, and sturdy – not sugary or wimpy. In fact, let me take this opportunity to state that Chuck Billy – this signature's favorite thrash vocalist since I was able to form an opinion on the matter – is THE proverbial man. No matter what he does on this record, he does as perfect as it could've been. The band could not go on without him, nor should they. But given an album like this one, it'd be a cold day south of heaven before they'd need to.

As already suggested, however, "Para Bellum" is one of those many side 1 kinda albums. But as with most of those, this doesn't mean that side 2 is without its share of value. Indeed, "Witch Hunt", in spite of its many blast sections, is super fucking old school thrash, connoisseur level. And furthermore, it's another fine example that vocal lines can easily be catchy without having any melody, and that a slow half-time section doesn't need to pander to the frat boy segment.

Not only is this hella aggressive; it also encapsulates all the different versions of the band we've known throughout the last 40-ish years.

Same thing goes for that melodic mini section with those wonderfully ugly harmonies. In fact, when veterans are still hurling out pure metal like this, there is no reason to bother for one second with any of that whiny, wimpy wigger core from this horrid century. Not that any metalhead would need further assurance of that.

"Nature of the Beast" is an interesting standout, its bluesy bounce sounding like it could've been channeled by Down, and its main riff emanating vibes of another little 1984 classic, name of "2 Minutes to Midnight". And while those lyrics are a bit corny in all their gambling thematics, you'd be weird not to love that Motörhead reference: "Wake up! Why can't you see? / The ace of spades is the card that you need".

Also the all-concluding title track demands attention, going from a dramatic semi-note figure and a march-like riff into death thrash with a triplet verse meter á la this little 1981 classic, name of "Killers". Everything escalates here. Skolnick and colleague Eric Peterson seem to be going for next level riffing, both in terms of complexity and meanness – on the album as a whole, but also on the ending specifically. What's annoying, though, is that the chorus, while joyously blasting across the plains, is almost based upon that fucking standard four-chord sequence that I've had to mention in my reviews of the latest releases from Lorna Shore, Primal Fear, and Ghost because those groups found it relevant to apply. Testament doesn't fully go there, but it's close. And given the additional incorporation of a goddamn disco hi-hat and a main volume swell, there are a bit too many deliberate, noticeable gimmicks going on all of a sudden.

Overall, though, and as should come to no surprise of anyone who's bothered reading this far, "Para Bellum" kicks ass. And it's another fine testament (yeah, I went there) to the merits of one of the finest groups in not only their subgenre, but in the grand, kickass world of metal.

Rating: 5 out of 6

Genre: Thrash metal / death thrash
Release date: 10/10/2025
Label: Nuclear Blast
Producer: Chuck Billy + Eric Peterson