Overkill are one of the hardest working, relentless, dependable bands in Thrash Metal. Much like Motorhead were, they were constantly on the road or pumping out album after album, flying the flag and keeping the faith over the years (and still are) wether the media were paying attention or not.
Their first four albums are pretty indispensable Thrash Metal must-haves that I am very find of. I keep a framed vinyl copy of The Years Of Decay on my wall as decoration. I can’t claim to be their biggest ever fan, for example I didn’t give their ‘90s output as much attention as I should have until recently, but I have been slowly rectifying that, and I still have a very high regard of the band even if I don’t know every single thing they ever released. Public opinions seem to be mixed on almost everything after their WFO album, but I remember clearly when almost the whole media, fan community and internet were united in love for their 2010 album Ironbound. That was a fantastic, reenergised, retro but modern, firecracker of an album that filtered what was good about classic Overkill and modernised it, and crucially had the songwriting and performance to back up the production and brilliant formula. To make a Testament comparison, it was very much their Formation Of Damnation.
What happened after Ironbound though? Was it an anomalous high-water mark like Megadeth’s Endgame but then they slowly slipped back down from the heights? Or was it a kick up the ass that was just the beginning of a new period of great album after great album?
Luckily, it was the latter. How do you possibly follow up a career rejuvenation like Ironbound? “Easy,” said Overkill a mere two years later, and promptly issued forth another fired-up, teeth shattering, razor sharp collection of classic yet modernised tracks that give the fans exactly what they want, but somehow without just recycling old material. Stylistically, it is a continuation but also a fine-tuning of what they did on Ironbound, with a few less over-long songs, and a slight rejigging of the ratio of Thrash to Classic Metal to Groove aspects, with a bit less groove this time around and a lot more thrash.
Another superb production job with great guitar tone (and more importantly for Overkill, bass tone), another impressive Ron Lipnicki drum performance, another example of Blitz’s singing/attitude at his very best (gotta love his sarcastic sounding angry snarl) all serve to compliment that aforementioned style and add to the quality of the record as a whole.
Highlights include the single “Electric Rattlesnake” as well as the brief but satisfying “Old Wounds, New Scars” and best of all is probably “Save Yourself” which is just a perfect example of the sound, spirit and style of Overkill.
If you liked Ironbound, this is a tighter, faster, even better version of what that album achieved. If you ever liked Overkill at all, there’s practically no chance you wouldn’t like The Electric Age. Sixteen original studio albums deep into their forty-year career, it was/is pretty exciting to think that the band were/still are able to make material this good.