While there may be signs that we are approaching the end of a relatively peaceful interbellum – with few real concerns for war in recent decades, in Europe that is – Testament returns with Para Bellum. It is part of the Latin adage “Si vis pacem, para bellum”, which translates as: “If you want peace, prepare for war.” According to the band, their fourteenth album is both a battle cry and a reflection on humanity’s uneasy relationship with its own creations. That may sound heavy, but in practice Testament once again delivers a thoroughly enjoyable (thrash) metal record, this time with a greater sense of adventure than on the previous two (or possibly three) albums.
That brings us to the music. The previous albums were certainly more than solid. However, the band seemed to have grown a little too comfortable within that modern, ultra-fat sound, becoming less inclined to take creative risks. That can lead to listener fatigue (or maybe that’s just me). Yet when lead single Infanticide A.I. dropped, it immediately caught my attention. The twin lead guitars opening the track sound somehow both like a throwback to the first albums and refreshingly modern at the same time.
That sense of freshness is confirmed from the moment album opener For the Love of Pain bursts from the speakers. A thrashy start (but that’s only logical – to quote Johan Cruyff) with bouncing riffs and thunderous drums, but then an Exodus-like switch of strings leads into black metal-style tremolo picking. The blackened atmosphere is intensified by the screams supporting Chuck’s signature roar. It’s almost as if Eric Peterson still had a few riffs/ideas/dark energy flows from his (defunct?) Dragonlord project that needed to be unleashed. Especially with Steve DiGiorgio’s wonderfully bubbling bass – which finally gets to dig deep again – this is a powerful kick in the backside for anyone who thought the band had reached the limits of their sound. The album simply couldn’t have asked for a more inspired and energetic opening track.
Infanticide A.I. is another certified “banger” (to throw in some teenage slang). The tempo increases to give musical voice to anger and unchecked despair (“we have lost control”). We still catch brief flashes of tremolo-picked black metal here and there, but at its core this is focused, biting thrash that turns your living room into chaos in under three and a half minutes. Once again, this is strong work – probably enough to convince many fans to smash that pre-order button or dig through crates at the record store. With Witch Hunt, that same ferocity and energy is struck again. Great stuff for any thrasher, not least due to the melodic solo, which unexpectedly shifts into something of a bluesy hard rock lead! Then again, if Nuclear Assault could get away with it…
However, it’s not all good news. When you push boundaries, sometimes things don’t quite land. Think of that edgy joke you wanted to tell but fell flat, leaving everyone looking confused. That’s how I feel about the ballad Testament delivers here (their first in years). Don’t get me wrong: I’m not against ballads. They’re at the heart of many classic ’80s thrash albums. Testament’s own The Legacy, Trail of Tears, and the somewhat maligned (even by Eric and Chuck themselves, if I’m not mistaken) The Ballad still hold up for me. So why doesn’t Meant to Be work for me?
First off, Chuck’s voice, which on earlier (semi-)ballads retained a certain freshness, has naturally aged a bit. He sounds like he’s putting more strain on his vocal cords, making it harder for him to carry the song emotionally. Then there’s the lush orchestration (handled by virtuoso cellist Dave Aggar) and the grandiose chorus, which make the song feel a bit overwrought, even pompous. When the acoustic strumming starts and suddenly the music video for Patience by Guns N’ Roses flashes before my mind’s eye – that’s when it’s over for me. Or is it? The second half of the track does manage to recover somewhat with more progressive guitar work. It’s entirely possible that Meant to Be will resonate with you as a calming, beautifully orchestrated and emotional track (opinions may vary, thankfully), but for me, it feels just a little too forced in places.
Nature of the Beast is built on a similar rhythmic foundation (to avoid using the word “groove”), though it comes across as a bit more generic. It lacks that extra spark. That said, the solo is melodic and compelling enough to sweep you away… until the main theme returns. Room 117 is another midtempo track but thematically has a storytelling quality reminiscent of Annihilator (early albums). This creates a sense of urgency that you feel alongside the song’s protagonist: escape is essential. That same urgency flows from Alex’s fingers in an exceptional guitar performance. Combining speed with feeling is not something every guitarist can pull off. For him, it seems second nature.
Havana Syndrome, then, risks falling between two stools. It’s not full-blown thrash, yet does contain faster sections. This makes it one of the more dynamic tracks on the album, thanks also to the short bursts of guitar leads. The vocal lines in the bridge and chorus briefly recall the Practice What You Preach and Souls of Black eras and that’s quite enjoyable. With the title track’s intro, we go even further back: the first few notes are, reportedly, a restored bridge from The Legacy that had previously been lost. For Testament, a “full circle moment”! The listener might not notice anything unusual, other than that Alex gets plenty of room to let his six strings speak before a snarling, scratchy riff drags the song into its main theme. At six and a half minutes, it’s the second-longest track on the album, and it packs in quite a lot. Its shifting sections border on progressive, featuring crushing tempo changes, even lightly punk-inflected passages (!), and an acoustic outro, all held together by the glue of glorious solos and lead work. This is a track you can sink your teeth into, but aren’t those often the best ones?
Para Bellum is, all in all, another solid Testament album that, for my taste, just lingers a little too long in midtempo territory. That said, the band sounds fresher and more inspired than they have in the past ten years, and when all cylinders are firing (the double-barreled opening assault!), the experience, skill, and even enthusiasm shine through. Which makes this fourteenth release yet another essential purchase for fans. At the same time, it’s likely also the album the band needed to make for themselves. Oh, and if Meant To Be is exactly your thing, please feel free to add a few points to the score below (I’m feeling generous).
Score:
82/100
Label:
Nuclear Blast Records, 2025
Tracklisting:
- For The Love Of Pain
- Infanticide A.I.
- Shadow People
- Meant To Be
- High Noon
- Witch Hunt
- Nature Of The Beast
- Room 117
- Havana Syndrome
- Para Bellum
Line-up:
- Chuck Billy – Vocals
- Eric Peterson – Guitar
- Alex Skolnick – Guitar
- Steve DiGiorgio – Bass guitar
- Chris Dovas – Drums
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