Testament didn’t come here to play it safe. With “Para Bellum,” their fourteenth studio album (yes, 14th), these Bay Area legends prove they’re still swinging harder than most bands half their age. While some classic acts spend their late-career years cruising on nostalgia fumes, Testament just slammed the gas and crashed through a wall with this one.
The lineup is stacked: Chuck Billy’s vocals are sharper and more layered than ever, Alex Skolnick is still melting fretboards like it’s his full-time job (because it is), Eric Peterson’s riff game is unmatched, Steve DiGiorgio’s bass is basically its own mythos, and newcomer Chris Dovas on drums? He’s not just filling shoes, he’s kicking them through walls.
Let’s break this beast down track by track.
Album Review: Testament, ‘Para Bellum’
“For the Love of Pain”
Talk about an opener with teeth. This track doesn’t ease into anything, it punches the door open and dares listeners to keep up. It’s got a blackened edge and a death-metal snarl layered into the thrash formula, and Billy’s growls are full beast mode. Dovas’ drumming is fast, mean, and tight. This was the last song they wrote for the album, but it’s the first thing you hear, and honestly, perfect choice.
“Infanticide A.I.”
The title alone says metal as can be, and the track delivers. It’s fast, brutal, and catchy in that sinister way Testament does best. The theme is AI-gone-wrong paranoia, and it’s not subtle, but who needs subtlety when your riffs are this sharp? Skolnick and Peterson are basically dueling here, and Dovas is just flexing at this point. This is easily one of the standouts of the record. Play it loud. Play it twice.
“Shadow People”
Creepy, slinky, and groove-heavy, “Shadow People” dials the tempo back just a bit but brings the atmosphere way up. This one leans into darkness without going full doom. It’s also a nice reminder that Testament doesn’t need to speed-race through every track to be scary. Chuck sounds like he’s narrating a horror movie, and we’re here for it.
“Meant to Be”
Ah yes, the ballad. Every heavy album has that track, and this is Testament’s slow burn. Acoustic intro? Check. Orchestral strings? Check. Emotions? Surprisingly, yes. It’s heartfelt and a little dramatic, and even if it slightly messes with the album’s momentum, it shows range. Plus, Chuck gets to sing-sing a little, and it’s kind of lovely. Not everyone’s cup of tea, but give it its moment.
“High Noon”
This one gallops in like it’s ready for a Western showdown, and it’s kind of amazing? Thematically, it leans into cowboy imagery with gunslinger riffs and tough-guy lyrics. Musically, it’s heavy, stompy, and a bit tongue-in-cheek. It’s not reinventing anything, but it’s got swagger, and sometimes, that’s enough.
“Witch Hunt”
Okay, now we’re back in full beast mode, with the best of thrash metal. “Witch Hunt” is grimy, fast, and furious. Think of it as the evil twin of “Disciples of the Watch”. The riffs are nasty, and Chuck’s vocals sound like he’s possessed in the best way. There’s a melodic break in the middle that gives just enough space to breathe before the pummeling returns. Top-tier heaviness.
“Nature of the Beast”
Let’s be honest, this one’s a bit of a filler track. It’s not bad, just not particularly memorable. It’s got a gambling, rock ‘n’ roll vibe that feels a little too casual for an album that’s otherwise so precise. Solid playing, of course, but it feels like it wandered in from another album.
“Room 117”
Unexpectedly emotional and sneakily catchy, “Room 117” hits different. It’s based on a real story, and the lyrics feel more personal than usual. The groove is on point, the guitars are tasteful, and the chorus lingers. It’s a sleeper hit, less flashy, more feels. This is the kind of track that gets better the more you hear it.
“Havana Syndrome”
This one is all tension and paranoia, channeling real-world fears into full-on riff warfare. It’s not the heaviest on the album, but it might be the most sinister.
“Para Bellum”
The title track wraps it all up with epic flair. Starting with warlike drums and marching tension, it builds into one of the most complex tracks on the album. There are tempo shifts, layered solos, and a big, defiant message: Testament still has something to say. And they’re not whispering it.
Why It Rocks
“Para Bellum” is Testament doing what Testament does best, but with a few surprises up their studded sleeves. It’s heavy, sharp, and smart, without losing that raw, underground spark that’s always made them stand out. Chris Dovas is a monster on drums and brings fresh life into the band, and the production is clean but not sterile (Jens Bogren understood the assignment).
Sure, it’s not perfect, “Nature of the Beast” doesn’t hit like it should, and “Meant to Be” might divide fans, but overall, the album rips. There’s power, emotion, and actual fun in these tracks. Testament isn’t just still around, they’re evolving, pushing, and proving they’re still one of the most essential bands in modern metal.
Highlights: “Infanticide A.I.”, “Room 117” and “Para Bellum”
For Fans Of: Kreator, Slayer, riffs that melt your eyebrows off
Best Played: Windows down, volume at high levels, somewhere your ex might hear it
Rating: 9/10, with extra credit for being absolute beasts in their 60s
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