What do you do in your new venture if you’re a titan of thrash metal, firmly holding your position and earning universal acclaim, regardless of how good your latest albums are? Do you try something different, tampering with things that might stir agitation or murmurs among fans? Or do you stick to the familiar path and release another album with the same elements? For me, the musicians should always be free – unhindered by public opinion, label company pressures, or other external factors. Of course, if the result is top-notch, all the better for us; otherwise, condemnation and whining erupt in the “wonderful” realm of social media.
Testament’s fourteenth album, the first with Chris Dovas on drums, showcases the powerful, aggressive guitar patterns and leads that have longed formed the backbone of their sound, enriched with melodies and catchy refrains that add a layer of accessibility. But “Para Bellum” is more than just a straightforward thrash record. Its core remains distinctly Testament, to be sure, but black and death metal influences are evident, shaping a soundscape that deviates from what the audience might have anticipated.
Bands of that caliber often experiment, but their efforts usually don’t hit the mark (sadly, there’s no shortage of such misfires). Testament, however, integrate extreme elements thoughtfully and with restraint, crafting a more brutal, heavier, and occasionally darker album, anchored by standout riffage. I don’t know what happened to Peterson, the principal songwriter – perhaps he felt he had more time and creative space to expand on ideas he’d previously explored in Dragonlord, his other project. And why shouldn’t someone attempt new things when they have the right people backing them?
Peterson and Skolnick excel, delivering dynamic, sharp riffs and solos – a true showcase of seasoned mastery. Chris Dovas locks in tightly with the band, channeling his energy through relentless blast beats and aggressive patterns, all while complementing Peterson’s extremities with occasional touches of modern flair. Testament’s rhythm section is as solid as a bedrock, thanks to DiGiorgio, whose technical prowess adds depth and intensity to the compositions. And with the timeless Chuck Billy, who sings in any shade of growl and level of harshness you want, you can play thrash, death, and heavy metal alike. Hearing this gentle giant in action is, as always, a thrill.
The album kicks off impressively with a bang – the fierce “For the Love of Pain” immediately sets the tone. Its blackened yet melodic textures, shifting tempos, and dual vocals from Billy and Peterson (whose black metal shrieks add a chilling edge) grab your attention instantly. These features unfold organically throughout the record, never feeling forced, elevating its overall quality. In “Shadow People” and “High Noon”, the band shift gears, offering a different mood and sonic palette; here, they tap into that familiar groove and thunderous heaviness longtime fans will instantly recognize.
In contrast, pure thrash dominates the more straightforward songs (e.g., “Infanticide A.I.”, where drumming is absolutely devastating), offering plenty of excitement with a dynamic, tight sound. Meanwhile, “Nature of the Beast” and “Room 117” slow things down, leaning into a heavy metal vibe that doesn’t quite align with the rest of the album. That’s not to say these songs are bad (in fact, the opening riff of “Room 117” is quite addictive); they just don’t fully represent the standout moments of “Para Bellum”.
“Meant to Be” deserves special mention – a sentimental and potent ballad, elevated by Chuck Billy’s deeply expressive and commanding performance. Amidst the album’s aggression and brutality, it offers a pleasant interval of calm and stands out as a rare instance of serenity from Testament. However, some weak moments keep the song from truly soaring. Still, I appreciated the composition, as it opens the door to new territory.
I’d say the closing, self-titled track serves as a fitting encapsulation of Testament’s essence. It weaves together the band’s various facets through a layered structure, delivering a well-balanced blend of aggression, intricate riffing and bass work (DiGiorgio rules!), and touches of melody (but mostly aggression!).
All the points mentioned above indicate the varied twists and turns within “Para Bellum”. Hence, some listeners might question its consistency. Yet had the album rigidly followed a certain direction, we’d likely be criticizing it for being too uniform. I’m implying that, as fans, we often don’t quite know what we truly want. In the end, each listener will gravitate toward the aspects of “Para Bellum” that resonate most with their personal taste.
In any case, the album -despite its peculiarities- aligns seamlessly with Testament’s spirit and current vision. At that age, the band showed a clear drive to experiment and evolve – and they did so with creativity and technical prowess, aided by a production team that amplified their signature heaviness and groove. I don’t care to rank “Para Bellum” within Testament’s discography – I don’t find any meaning in that. What matters is that it entertains, and for me, that counts a lot.
♦ 8/10
Alex Nikolaidis
