Criteria For A Black Widow (Annihilator)

Like every other thrash metal veteran in the new millennium, Annihilator sought a return to form after a decade of inconsistency. Guitarist/vocalist Jeff Waters abandoned his vocal duties, rehired "Alice In Hell" vocalist Randy Rampage and original drummer Ray Hartmann, and began to write songs in the style of (and sometimes referencing) his band's classic era. Fortunately he had the riffs and songwriting ability to back up his ambitions. . .

Bloodbath: As expected, the album starts off with a violent thrasher. The introduction comes in with building guitar trade-offs and a creeping rhythm section beneath, the verses go at a much faster pace, the chorus features some dark vocal trade-offs, the solo section lets off on the intensity and includes some sweet shredding, and the lyrics are indeed unusual ("No one shall miss the stench of your abyss"?).
9 out of 10

Back to the Palace: Just as Megadeth has "Return to Hangar" and Metallica came out with "The Unforgiven II" and "III", Annihilator apparently decided to write a squeal to "The Fun Palace". The introduction comes in with a building rhythm and a guitar riff that mirrors that of the aformentioned classic, the verses then go into a faster direction that manages to make it sound more distinct, the chorus is one of the more infectious though slightly obnoxious on the album, and the bridge is as melodic as it can get with Rampage singing. It's easy to be turned off by the intro's recycling, but it's distinct enough to be a stand alone highlight. It does make me wonder what would've happened if they could've gotten Coburn Pharr instead of Rampage. . .
8 out of 10

Punctured: One of the more accessible tracks on the album that has been compared to Silverchair of all people. The introduction comes in with softer guitar harmonies and eerily whispered vocals, the verses bring a driving rhythm and menacing vocals into the mix, the chorus explodes with heavier riffs and another catchy refrain, and the bridge brings in an unsettling breakdown. A pretty strong track that may be my favorite on the album.
9 out of 10

Criteria For a Black Widow: This may be the album's most unusual track. It comes in with a neat bass groove accompanied by squeaky guitar effects, the verses continue with some weird vocal lines and lyrics (Whose idea was it to write "u" instead of "you"?), the chorus brings in a heavier riff, and the solo section continues in a heavier direction that eventually peaks at a faster pace. A very strange song, but one I still find myself enjoying.
8 out of 10

Schizos (Are Never Alone) Part III: Another sequel of sorts but this one isn't as blatantly obvious as "Back To The Palace". It comes in with mellow accoustic guitar playing that vaguely sounds like "Phoenix Rising" that is eventually replaced by heavier and more dramatic sets of riffs and solos. Slightly filler-ish but a pretty cool addition that showcases Waters' guitar skills quite nicely.
7 out of 10

Nothing Left: More intense guitar trade-offs and powerful double bass drumming open this song's introduction at a building mid-tempo pace, the verses continue at a faster pace with solid vocal lines, the chorus has a more uplifting quality, the bridge keeps the intensity flowing, and the solos are packed with more great shredding. Another great thrasher.
9 out of 10

Loving The Sinner: The guitar chugs that open this song have a more classic metal touch to them, the verses continue with particularly low pitched vocals, the pre-chorus packs in more melodic guitars and vocals, the chorus features some vocal lines that remind me of "Fiasco" in a way. One of my personal favorites.
9 out of 10

Double Dare: Without warning, we go into the most complex track on the album. The main verses open the tune with demonic vocals and building riffs, the chorus features more catchy vocal lines, the third verse continues at a solid mid-tempo pace with mocking vocals and one of the band's many allusions towards "Alison Hell" in the end, and the fourth verse goes into a more melodic direction that reminds me of Dream Theater for some reason. A good song though a tricky one to get into.
7 out of 10

Sonic Homicide: A lone guitar chord starts this song off before going into one of the most intense tracks on the album, the verses throw in some unusually distorted vocals into the mix, the chorus features more drawn out vocal lines and a few spots for the bass to shine, the bridge continues at a mid-tempo pace, and the solos are as powerful as ever. Another cool addition.
9 out of 10

Mending: Closing the album out is a brief instrumental in the vein of "Crystal Ann". Something about it screams filler, but the song benefits from a dark atmosphere and pleasant melodies.
8 out of 10

Overall, this album gets 84 out of 100, 84%, and 4 stars. For those who despise Annihilator's last three albums with a burning passion, rejoice for this may be the band's best album since "Set The World On Fire". It isn't the big comeback the band may have anticipated and Rampage is more of an acquired taste than ever, but it's a great album that should satisfy any seasoned thrasher.