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This is probably the strongest classic Anthrax release. It is also likely their strangest. This is a fairly consistent album with very little that I would dump. This is also pretty different from their previous albums. The artwork is my favorite of their catalog.
On the consistency, most of these songs are pretty good. Got the Time had to grow on me, but the first three in a row is one of the better starts to an album any thrash band has had. The songs do drop a smidgen, but H8 Red is the only real stinker. It seems too slow, and the feel of the song is just very meh. This is one song though, so all is still well, and a full entire listen is still enjoyable. This is a rare statement for Anthrax. Euphoria was a weak and odd album, and most of the first two were mediocre USPM. This and Among are the only reasonably consistent albums out of their classic period.
This is different from their previous works in two ways. The first are the lyrics. The previous albums may have been cynical, but not in a dark way. They gave a feel of "street-wise" more than anything else. This has much more of a condemnation of society feel than the previous ones did. Among and State had toyed with this idea, but it actually comes across well here. The odd swearing is rather needless, but at least their not obsessed with it. The other is the atmosphere to the album. This is several times heavier than anything on State and most of Among. This is a mixture of the new production and their new ability to actually write a good, serious song. I do miss songs like I Am the Law, but these are about as good, and more consistent.
The drumming on this album is pretty good, Benante didn't disappoint. His double-bass is quite strong, and after Lombardo, he was probably the strongest drummer of the big four. For that matter, he is probably the strongest member of this band instrumentally. I've heard that Benante wrote much of Anthrax's music, which wouldn't surprise me. Anthrax always struck me as very rhythmic-centered album. Bello on bass is loud, but he isn't very interesting. I would liken hearing him to hearing Araya on the second half of Hell Awaits. Is he audible, yes, but is he doing anything worth hearing, not really. He isn't poor, but I expect something more when the bass is this audible.
The vocals are as good as to be expected. Joey has a good deal of range, but he also has a certain grit that I think draws many in. On this album, the focus is more on the grit. His shrieks are still there, but they are not as prominent. This was his last album with Anthrax, until recently, and I believe it a testament to him how much better this and Worship Music is to anything they've done in the meantime.
The guitar playing on this album is very rhythmic. These are some of the best riffs Ian and Spitz played, but their not awesome. To be honest, Anthrax's riffing was what turned me off of them for a while. Most metal bands, I go straight for the riffs. With Anthrax, the riffs are more of the fast or big than anything else. There isn't a ton of variety or technicality, and focusing on them is not the way to go. These are better, but many albums of lower quality had better riffs than this. Since I've also heard that Ian wrote most of the lyrics, he does deserve some congrats, these are the best he's ever done there as well. As for Spitz, I'm honestly not sure what real purpose he serves. His solos are just weird and don't fit the songs. He does thicken the sound during the rhythms, but I feel like you could just double Ian in the studio for that.
Some of this probably comes off as complaining, but I do enjoy this record. Joey and Charlie were amongst the best in thrash at what they did. I have no idea what the politics were that got Joey kicked out, but their follow-ups were the poorer for it. I docked points for the aforementioned weak song and for the relatively weak guitar playing. If you enjoy thrash and don't hate Anthrax, then I'd say that you need this album.
By the late 80’s, most thrash groups had found their own sound and defined their identity leaving behind the subgenre early stage clichés and topics. Brutality and speed were generally replaced by refinement and complexity, some bands even made melody part of their policy, denying the aggression, mysticism and obscure essence of the mid-80’s blackened thrash. There were lots of melodic urban thrash acts around back then, musically accessible and casual, not only their lyrical issues were cheerful. Anthrax was the icon of that subgenre of the subgenre itself, they kept loyal to their nature maintaining that cool style and believable vocals. By 1990 they added a bigger percentage of difficulty to their usual schemes.
“Time” and “Blood” make clear these guys’ intentions for making something advanced; their configuration is slightly complicated in contrast with previous records mostly straight cuts. Actually, the riffs remain direct and kinda uniform without being notably developed, though their necessary alterations design effective distinct sequences and provide a solid basis for those extended instrumental passages. Rhythm is also stable, rather weighty, refusing to speed-up like it used to, proving Anthrax determination to construct something consistent and heavy. Belladonna’s verses are numerous, at times leading the pack, the main attraction, this time deeper and abstract. That resolution of including lengthy instrumental series, accurate structures, serious vocals and riff variety in their music becomes more evident on “Keep It In The Family”, which features some tempo changes and an admirable diversity of riffs. Certainly, that’s the most elaborated tune here, others like “Belly Of The Beast” and “In My World” are technically superior as well, though their tempos are limited and untouched. So complication is the rule, “Discharge” and that Joe Jackson cover are the exceptions, totally simple, lyrically insistent and dumb, yet convincing anyway, including the roughest riffs surprisingly. The rest of compositions are usually ignored, “H8 Red” and “Gridlock” for instance weren’t intended to be the fillers of the album as that passionate execution and solid riffing demonstrate, although their tiring vocals and unoriginal development make them weak and forgettable. Guitar lines are relegated to support Joey, particularly on “One Man Stands”, whose main chorus repetition and unnerving melody are exhausting.
Anthrax’s sound had evolved through the years, from the scruffy aggression of Fistful Of Metalto this pretentious technical attempt. Their efforts have been proved successful; some of these tracks are talented and splendid, reaching another level. However, this isn’t a definitive culmination because, as I mentioned before, there are so much generic numbers here that break the continuity of the band’s complexity, lacking inventiveness and inspiration. The absence of their distinctive velocity is another handicap. Quieter rhythms were the only choice possible to conceive weighty cuts like “Keep It In The Family”, others like “Gridlock” could’ve been faster and more energetic instead of getting stuck in those common tempos, so Charlie found no challenge on them I’m sure. Melody is an omnipresent characteristic as well, nothing new because it had been part of the group’s peculiar methodology since the beginning, though its presence is greater in this record, making these songs deny aggression and vigor. So the music has got so mellow and sophisticated, a reflection of maturity and experience, the result of every preceding album work. That wasn’t anything unusual by the early-90’s for thrash acts, the other Big 3 were also getting commercial and inoffensive but it seems Anthrax went further and nearly denied violence and speed completely, a big price to pay for breaking the limitations of thrash. On other hand, it’s clear their stuff has got musically stronger, ideally constructed on the first half of the LP. Riff variations are still predictable, structures not incredibly versatile, though song configurations are generally skilled and precise, introducing lengthier instrumental parts, bridges, richer solos, everything immaculately performed, and that clean production fits this music perfectly.
So there are brilliant tunes here with the band at its best, achieving a superior level of technique and solidity while others are rather disposable and tedious. This record could’ve been the culmination of Scott and co., sadly it turns into a big disappointment on the second-half. At least it was an honest farewell to the Belladonna years, the beginning of the uncertain times for the band, who were one of the very few thrash groups that survived discreetly through the deadly groovy 90’s. You can’t put this material in the same level of Among The Living but you can enjoy it as much as State Of Euphoria, so there’s no reason to ignore it. Unfortunately, it seems this one doesn’t get the attention and recognition it deserves...
This is the album that people know as the last with singer Joey Belladonna until 2011's Worship Music. Belladonna stuck around for another year or two after, but didn't seem to have as much input on the band's later releases, particularly Attack of the Killer Bs, where he is absent on a fair few tracks, suggesting that there was tension in the band. In 1992, he was fired and in came John Bush. So, how does the final full length album with Joey Belladonna in his initial run measure up to everything that came before? Well the short answer is: it's fantastic, and it's the best Anthrax album to date. However, I must give a longer answer for the sake of this review.
The most important factor about this particular album is that although it still has an unmistakably thrash metal sound, it has a much more angry feel than any of the band's previous albums, and also abandons the use of humour that was a large part of the previous two albums specifically, Among the Living and State of Euphoria. Therefore, the subject matter is much darker and more serious, covering themes such as paranoia ("Time"), isolation ("In My World"), and intolerance ("Keep it in the Family"). Joey's vocal delivery is often quite vicious, often using his low register, such as in the beginning of "In My World" in which he sings "I'll bite the hand that feeds me, and I could give a damn if that hand needs me", which is particularly effective in setting the album's overall atmosphere. The band had lost a lot of their gear in a fire whilst the album was in its early stages, and it certainly seems to have influenced the band member's moods and attitudes, and as a result, greatly influenced the album.
Many of the songs last at least 5 minutes, with the first four all lasting 6-7 minutes each. There are plenty of instrumental elements with solos galore, characteristic of the thrash genre to be heard and enjoyed, in which Scott Ian and co. play their instruments like the end of the world is nigh and it's the last thing they'll ever do. The passion and overall emotion is to be admired. The songs get shorter further on in the album but there are still plenty of excellent twists and turns crammed into the songs. "Intro to Reality" and "Belly of the Beast" form a single piece of music, though the split into two is appropriate due to the intro lasting 3 minutes, and some listeners may instead choose to cut to the chase. The intro is worth praising, however, as it utilises a harmony guitar, played by Charlie Benante, which gives him a good opportunity to show that he is not just musically talented in the drumming department. It is worth mentioning that Benante has always played a large role in the composition of the band's music, and he certainly excels on this release.
There are a small number of songs that remind me of the kind of Anthrax song you might expect to hear on ATL or SOE. These are songs that either contain lyrics that still have a small level of humour in them, or just sound similar musically to a typical track from those albums. "Discharge", for example, is a solid thrash number that contains the lyric "Life? What life? What's the difference between you and death?" which is a personal favourite lyric of mine. Another example is the cover of Joe Jackson's "Got the Time" which the band speeds through in under 3 minutes. Quite an appropriate choice of song to cover, too, as it is in keeping with the album's loose concept of time.
The album cover itself features a clock with skulls in place of numbers, and skeleton arms in place of the regular "hands" on a clock. The artwork, as well as some of the lyrics, seem to carry the message that we need to stop hating one another and learn tolerance before, basically, it is too late and we all die (or rather, run out of time). We must act now or else we will just watch that time ticking away.
This is by far one of the band's most serious efforts, but it's also their best. Although songs like "Caught in a Mosh" and "Madhouse" are classics that helped Anthrax rise to fame, they are little more than headbanging anthems, which is fine, but Persistence of Time shows that they can go beyond that and tackle more serious subject matter, and put together a damn solid release based around it. It also serves as a swan song of thrash metal, as the next few years would see several thrash bands, including Anthrax, changing their musical styles in order to survive in a decade of changing tastes with grunge being a prominent genre, but at the time, Anthrax seemed to be on top of their game, and today Persistence of Time should still stand as an essential metal album that served as a great final chapter to both their first run with Joey, and the dominance of thrash in the rock/metal world.
Album number four for New York metal thrashing extraordinaire's Anthrax. Persistence of Time used to be my favorite Anthrax album, and even though I give the edge to Spreading the Disease I still rate this one highly, and I prefer it to the likes of Among the Living.
Persistence of Time has the distinction of being Anthrax's most accomplished release, well, as far as musicianship and performances go. The band decided to take themselves seriously here and this album feels right at home amongst the Victims of Deception, Years of Decay, Twisted Into Form crowd. A lot of the bands slight crossover element is largely missing, with the exception of the "Got The Time" cover, which serves as highly beneficial to the release.
The tracks are quite a bit longer than usual here, with the opening four numbers swimming a see of six - seven minute tracks. Anthrax really deliver over the longer time periods and the songs are given a lot more room to grow. When concerning production I feel that by todays standards Persistence of Time happens to stand up the best amongst the bands work with Joey Belladonna. The mix is fantastic, and the bass has a great prominent sound which as a result leaves this album sounding the heaviest of the Anthrax backlog.
"Time", "Blood" and "Keep it in the Family" are all massive in scope as far as Anthrax goes, and these songs are among some of the best the band have done. From the darker edged riffs, to the build up and dynamics this is all good. "Keep it in the Family" is a particularly awesome example of Anthrax ala Persistence of Time. Not to blow their wad in the first half of the album we have the awesome "Gridlock" which houses some of Anthrax's most menacing work, and the bad-ass "Belly of the Beast". Proabably the catchiest track on the album (not including the cover), this was actually the first Anthrax song I ever heard, and has some fond memories attached to it.
Persistence of Time is a really cool release, and is reflective of its given genre at the time. Thrash was pushing forward in quite an exciting way, yet somehow it all went wrong. Even now when we have a fuck load of caricature thrash bands, none of them try to progress like Anthrax did here. Despite the niggling "Got The Time" the rest of the album is awesome and is of interest of any thrash fan, especially those with interest in the later releases around the late 80's early 90's.
Pulling themselves up off the ground after the critics slated 'State of Euphoria' (although their fanbase pushed sales to gold!), Anthrax released an even darker, but musically superior album in 'Persistence of Time'. As much as I like 'State...', I feel as though carrying on with the sound they developed on that album would have led to an even drier, simpler album that fans would find even easier to dislike. But thankfully that wasn't the case.
Because... the guitars are back! After being pushed to the sidelines on the last album, Scotty and Dan emerge to drive this album with a tone that is literally one of the heaviest I've heard in all my metal listening years. It's an insane crunch, which provides a thick layer of groove on lower strings but sounds straight up evil on higher strings. But tone means nothing without riffs, and considering the band didn't give us any particularly special ones on the last album (Finale excluded), is there any hope for 'Persistence...'? What can I say? This is a collection of some of thrash metal's meanest riffs! From the groove-thrash of that wicked descending intro/chorus riff in 'Blood', to the moshable breakdown of 'Discharge', these riffs are yet again rhythmically engaging as much as they are melodically! The intro for 'Time' is just one note, hammered repeatedly in 7/4 time, but is so damn catchy that I'll be darned if you don't find holes in the floor or family members after beating out the rhythm with your feet/fist/head! You know that cool circular dance Scott Ian does onstage, where he spins around and stomps whilst still managing to keep hold of his guitar? 'Time' is the perfect soundtrack for that.
It really has to be heard to be believed. Seven of these 11 tracks are amongst thrash's most glorious moments, and the biggest surprise is how stylistically dissimilar some of these songs are. 'Blood' features rapping in the pre-chorus, and Joey doesn't sound half bad doing it either! 'Keep It In The Family' is a slow, progressive piece, where the sharp rhythms and vicious riffs seem to transcend ordinary thrash, making a song that goes on for just over 7 minutes leave you wanting more. I usually dislike long songs, but the song is driven by such a dark intensity, it's impossible to turn it off. It effortlessly combines about 8 different riffs, each one so wonderfully catchy, so impressively heavy, so goddamn engaging I might just declare it Anthrax's best song!
'Belly of the Beast' is introduced by the epic instrumental 'Intro to Reality', which beings a calm, warm daydream, slowly increasing in intensity as the layers of guitars multiply, before a storm-like climax and a drop. The subsequent riff is amongst my favourite, to listen to and to play. It has an Irish Jig-like quality, only played by Dan Spitz backed by a chugging rhythm guitar making sure it doesn't sound as corny as you might think. The motiff (originally ascending and descending on the G string with B-C-Db-D) then gets used as the middle-eight, adequately transposed for the E string using the chromatic run of Ab-A-Bb-B. This is just about the most melodic Anthrax has ever gotten, and I sort of wish they'd released more stuff like this, because I really enjoy it. They use this riff alone to introduce 'Belly...' live (one of the best versions can be heard on 'Attack of the Killer B's') which I hope to see them play someday. 'Belly...' itself is a brooding piece calling out those countless Nazi soliders that were 'just following orders' (orders, which included having Jews murdered in gas chambers) as heartless cowards, who chose their own safety over what their conscience was telling them, choosing to kill innocent people rather than fight the madness that engulfed them. It's basically a metal companion to the Ramones' anti-Reagan anthem 'Bonzo Goes to Bitburg', also despairing over the rising number of apologetics that pollute our air even to this day (search Nizkor Project for the ultimate rebuttal if you ever encounter such vermin).
Joey Belladonna delivers a fiery and diverse vocal performance on 'Persistence...'. You'll find him rapping on 'Discharge' and 'Blood', sounding like a young punk on the Joe Jackson cover 'Got The Time' (my friends didn't believe it was the same singer) or supplying some of his more familiar melodic harmonies on songs like 'One Man Stands' (a tribute to 'Tank Man', the man standing in front of the tanks in that famous picture from the Tiananmen Square protests) and 'Keep It In The Family' (apparently based on the racial tension in Bensonhurst, Brooklyn, which escalated after the tragic murders of three black teenagers during the 80's). He makes the best of some quite terrible lyrics too:
'Raging like a bull inside a cage,
Just give me a stage,
Where this bull can rage!'
But thankfully his voice doesn't punctuate them the way John Bush's would (and does), and they're easily swept away with the next riff or the chorus. I particularly like the way Joey's accent is allowed to bleed through his vocals, resulting in an almost urban-like fury, which I feel strengthens the lyrics and themes we're presented with. Unfortunately, the growing tension inside the band gives the bitter but seemingly harmless songs 'H8 Red' and 'Gridlock' a depressing hidden meaning. The second verse of 'Gridlock' is most telling:
'I like to keep my friends around me close,
But my enemies closer,
Friends accept me for just who I am,
Not someone I'm supposed to be,
Or something they expect for free.'
After all the conflicts these guys have had over the years, that verse sounds more than ever as though Joey, with foresight, knew he was going to be kicked out, even before he got the call. Oh, yeah. I forgot to mention. This is Joey Belladonna's last Anthrax album. [Edit: he's since rejoined for the band's latest: 'Worship Music']
Scott and Charlie always chalk it up to the fact that their label didn't want a thrash band anymore, and getting rid of him was a step towards pleasing 'the man'. Fans saw it as the ultimate betrayal, removing one of the most recognisable singers in thrash metal all for the sake of popularity. Others saw it as necessary, a step into the right direction. It's still a major talking point when debating the decline of thrash metal in the early 90's. Ironically for the band, they've never been as popular since Joey left, almost sinking in to total obscurity at the turn of the millenium.
Putting these things aside, the only other criticism I have relates purely to a recording error. The first time I heard 'Time' with headphones on, I heard a strange whistling in one of the verses, which was so unexpected and freaky, I looked around the empty room for the trespassing culprit. At first I assumed it was Charlie accidentally whistling the vocal line when recording the drum track, but I'm told it's a fairly common mistake and a result of the vocal reverb. Hopefully if they ever decide to remaster 'P.o.T.', they'll attempt to remove it.
So that's 'Persistence of Time'. A shining example of how serious Anthrax could be, without sacrificing interesting melodies (the biggest fault of 'State of Euphoria'). Dan Spitz's solos are better than ever (see 'Time', 'Keep It In The Family', Frankie's bass is much missed (check out his solo in 'Got The Time'), Scott's riffs are without fault, Charlie's drumming is impressive yet again and Joey's vocals fits so well amongst all this, which makes it all the worse that it's his last appearance. The amount of riffs, song lengths and variety encorporated on this album seem to have earned it acceptance by fans of progressive metal, who hail it as Anthrax's most technically satisfying album to date. To the average fan, the band were merely back at the top of their game, especially with now classics like 'Time', 'Keep It In The Family', 'In My World' & 'Got the Time'. They believed the only way was up. Then Joey got kicked.
Persistence of Time Anthrax’s last album with Joey Belladonna always seems to be overlooked when people acknowledge Anthrax’s best releases. Anthrax’s style change was already noticeable on State of Euphoria but it really comes into being on Persistence of Time. Persistence of Time mixes the old Anthrax trademark of a very punk influenced thrash metal style with a more mid tempo Progressive style. It work’s remarkably well since the songs are more complex, longer, and contain some really inspiring riff work.
The songs themselves can be divided into three categories mid-tempo progressive thrash, epic mid-tempo progressive thrash, and the more strait forward thrashers. Persistence of Time is much longer than other Anthrax albums clocking in at just under and hour and fortunately it works well (anthrax was always good at writing longer songs). The complexity has increased relying much more on alternating lead/riff work than the trademark thrashy speed metal riffs of Anthrax’s older material. Persistence of Time is also far more melodic than on any Anthrax release before or after. Persistence of Time’s production is great mixing ever instrument just write.
The band’s performance is top notch on Persistence of Time especially Joey Belladonna’s. Joey as usual pulls of his high pitch classic metal styled vocals but this time around he uses more mid-range and thrash shouts than on any Anthrax release before. Dan Spitz and Scott Ian trade off some of their best lead and riff work throughout Persistence of Time. Charlie Benante pulls off his tightest performance of his career filling Persistence with great double kick bass, fills, and hand drumming. Finally Frank Bello’s bass guitar is more audible than on any other Anthrax release and provides some interesting bass solos on some of the songs.
Unfortunately the quality doesn’t hold for the entire duration of Persistence of Time mainly the last three songs which overstay their welcome. Joey Belladonna does utilize some rap type gang vocals on Time and Blood fortunately they are used rarely. Too many songs also clutter Persistence of Time Anthrax should have shaved the album down a couple of songs for momentums sake. Finally the solos are far more melodic and they do fit each song but they just don’t entertain like they used to.
Overall I would rate Persistence of Time on an equal footing as Among the Living. If Anthrax worked on Persistence of Time a bit more it could have easily been their magnum opus. Best songs are Time, Blood, Belly Of The Beast, and Got the Time (anthrax’s best cover song). I highly recommend this album to any fans of Anthrax and Progressive thrash.
-4 points album quality doesn’t hold for the entire album
-4 points rap elements in the vocals are present on Time and Blood
-4 points solos are less entertaining than on previous Anthrax offerings
-4 points a few too many songs are present on this album
As whole I like “Persistence of Time” better than “State Of Euphoria” but I prefer my favorite songs on “State Of Euphoria” to my favorites on “Persistence of Time”. Are you still with me? What I’m trying to say is that I find “Persistence…” more consistent a but lacking some real individual classics.
I always has a soft spot for the opening track “Time” but the song was never quite as good in the live environment. This song is also a fan favorite and the way the intro processes into the song in simple but effective and very memorable. Other highlights include the catchy “In My World” and “Belly Of The Beast” (including the beautiful intro “Intro To Reality”). Both these songs are never really fast raging thrash metal but they are incredibly catchy and feature some great riffs and a superb vocal performance.
The groovy song “Blood” is long but never gets boring and has plenty of dynamics and changes in pace. The “Imagine, Imagine” prechorus is simply outstanding!
With the duo “Gridlock” (great intro riff though) and “One Man Stands” (great chorus) the band delivers two good songs but not brilliant. “H8tred” and “Discharge” are decent but to be honest can be considered fillers. Whereas “Discharge” has plenty of power it can not compete with the best songs on this album. “H8tred” compositionally sounds a lot already like the kind of material the band would start writing with John Bush.
The production was close to flawless and sounds pretty heavy and tight. The lyrics continue the path of seriousness set in by a lot of songs on “State Of Euphoria” and also the album art has a darker image making it easier for some of the more conservative metal fans to get into this album.
Personally I prefer an album with some more up tempo material (you won’t find a Gung Ho, Finale or Imitation Of Life here) but the whole concept of this album came really close to the quality of their “Spreading…” and “Among…” albums, therefor becoming the third best Anthrax album ever. And that is saying a lot of coure.
Anthrax have made a bunch of excellent thrash metal albums over their exsistence. Some have been more succeeded and some less. Anthrax most famous albums were done in the second half of the 80's and early 90's with singer Joey Belladonna but still it was "Spreading The Disease" and "Among The Living" that got really big. "State Of Euphoria" and this one, "Persistence Of Time" was successes but not as big as the other two... They should've been that! I usually rate "Among The Living" as the weakest Anthrax-w/Joey album and "Persistence Of Time" is actually their second best album of all time. Why? Well, that what I'm gonna explain right here, right now...
Anthrax always had great subjects with their albums that featured Joey Belladonna, and so has this album. Time is something that's involving everyone in the whole world and time can be really interesting depending on what the subject is about. I like their direction of making an album about time. It's interesting. This album's filled with a lot of lengthy songs without getting dry and the whole album is kinda dark and epic sometimes.
The opening track is called "Time" and it's a really heavy track that immediately show you that Anthrax still got it and it's also a little reminding of the whole "State Of Euphoria" thing. "Blood" sounds like there's war in hell and Satan takes his troops to destroy the attacking enemy. This albums heaviest track is defenitely "Keep It In The Family". It's so heavy that you just bang your head while it feels like you get your ass kicked by a giant boot. "In My World" is probably the biggest highlight here. It's just so perfect with some perfect riffs to a great and catchy chorus while Dan's solo is awesome. The fastest song is "Gridlock", not the best one but still a killer. "Intro To Reality / Belly Of The Best" are probably my favorite next after "In My World". "Intro To Reality" is a pretty little acoustic guitar track that later goes into the catchy hell of "Belly Of The Beast" which has Joey Belladonna on top. The cover of Joe Jackson's "Got The Time" is really catchy while "H8 Red" is probably the most booring song here even though it's still good. "One Man Stands" and "Discharge" are two heavy tracks that can spell "perfection", they're both awesome.
The production is really nice. Like the other Anthrax albums this one has a different sound but it still sounds like good ole Anthrax. The whole thing is as I mentioned before, darker and a little epic. The drums is just breaking. They just blasts out some thrashin' madness which is followed by crushing guitars and a crushing bass. Joey Belladonna's vocals sounds (as usual) awesome. A lot of the perfection on Anthrax's albums are the vocals.
The cast is doing great. These five guys are some of the best musicians in the metal business. Joey Belladonna has one of the absolutely greatest voices in metal history while Scott Ian is a fantastic rhythm guitarist. Dan Spitz's doing a whole bunch of insane solos here while Frank Bello and Charlie Benante are two of the most insane musicians ever. Everyone's great and the only time it's been better (in my opinion) is on "Spreading The Disease".
So finally to my last comments on "Persistence Of Time".....
Every track is awesome. This album's almost perfect, the only thing is that not all tracks are 11 out of 10 but just 10 out of 10.
My personal recommendments would be: In My World, Belly Of The Beast, Time and Keep It In The Family. All tracks are awesome though.
I really recommend this album, it's great in any way. You can bang your head, swing along or just relax to it. There's eleven of the finest thrash pieces you can find on one CD and Anthrax is the author of them. If you find this album then I strongly sugest that you check it out 'cause it's worth it. Believe me!
This was the very last masterpiece they did. They will probably never come up to this quality again so let's keep the memory of the classics alive by listening to them. Anthrax forever!
This is no doubt (at least in my mind) one of Anthrax's best album. It takes the more serious approach of their prevous album, State of Euphoria, and raises the bar several notches in terms of heaviness and overall songwrting. This also has to be the most lyrically consistent thrash album I've ever heard touching up on things such as hatred, depression, anger, loneliness, and other negative issues without sounding whiny. The tone an atmosphere here is also very dark setting up a very serious album. Joey Belladona also performs at his best here, his voice sounds almost perfect for the mood that this album puts off. Another thing to note is that the songs tend to be much longer, excluding Got the Time.
I really can't pick out any stand out tracks here, because every song on here is executed flawlessly, but if I had to go with highlights, I'd go with Time, Blood, In My World, and Got the Time. Blood and Got the Time have to be the most catchy songs off this album, and I love the chorus fror Blood. I can listen to song about ten times in a row and I can't get sick of it. It's so catchy and memorable, yet so heavy and dark. This is easily the best song on this album. In My World also is quite memorable. It sounds very dark and depressing with lyrics that match the mood as well. Other worthy tracks are Belly of the Beast, H8 Red, and Discharge. All of these songs are memorable and contribute to the album in their own little way. The intro (Intro to Reality) sets up one hell of a thrasher which is Belly of the Beast. Dischrge is the perfect album closer. It's sort of similar to Finale off of their last album, as it is probably the fastest and heaviest track on the album.
They're really aren't any below spectacular moments on this album, but Keep It in the Family is probably the weakest song on the album, probably because it's a bit overlong, but it's still a great song in it's own right. About the only reason why I did not give this a 100% is because some of the songs are a bit too long, and some songs end up sounding pretty similar to each other. Oh well, small price to pay considering. This and Spreading the Disease are Anthrax's best albums. Yes, this is certainly better than the overrated Among the Living, and is also quite overlooked and underrated. It's ashamed that Anthrax will never make another album like this again, because this is epic and classic thrash. This is an essential for anyone that's a fan of either Anthrax or thrash metal in general. If you do not like this album, then you are truly a poser. nuff said.
This was my first Anthrax album and it blew me away. The intensity of the songs, the wild riffs, the memorable lyrics and choruses are what make this album a reliable listen. This album is very different in comparison to other Anthrax albums. For example, this album is more concentrated on constant melodies and contains a more intense drum performance as opposed to some of the other album in the discography, such as Spreading the Disease, which is more centered on guitar performance. The guitars and bass are also heavier on this album as opposed to some of the other albums, which have a higher pitched sound. The vocals are also more melodic in nature as opposed to short, almost monotonous vocals in Spreading the Disease. This is very apparent in songs such as “Blood,” where the vocals are very tuneful.
The album opens up with a ticking clock, cleverly so, as the album is called Persistence of Time, and the song is titled “Time.” Once the guitars and vocals come in, it’s a full on assault on your ears. The intensity of the guitar riffs is prevalent throughout the entire album, as are the melodic vocals. “Blood,” which is the second track is also one of the highlights of the album with its memorable chorus and catchy riffs.
"Blood on Your Hands, Blood in My Eyes
Blood I Can't Keep, Blood Circumscribes
Blood on Your Hands Turns into Blood in My Eyes
And with the Blood I Can't Keep
Our Lives, Blood Circumscribes"
These are some of the captivating lyrics that the album is packed with. Pleasurable lyrics to sing along to are a strong point of this album.
The songs that don’t have equivalent liveliness to the other songs are the third and ninth tracks, “Keep it in the Family” and ‘H8 Red,’ respectively. They’re a bit dull at times, perhaps due to a lack of the speed of the previous songs. Certain parts demonstrate the excellent guitar riffs and solos of the previous songs, but it does not have the same memorable sound. This is not a big deal as the fourth and tenth tracks, respectively, redeem your interest in the album.
“In My World” is another highlight due to the heavy riffs and extremely catchy lyrics.
“I’m not afraid, I’m not afraid,
Nothing touches me; I’m a walking razorblade,
Face the face of fear; face the face of death,
Laugh when other tears, Hate when others laugh…”
These lyrics are one of the most enjoyable lyrics I have sung in some time. The guitar riffs and drum work coincide with the melodic vocals very adequately. The Speed Metal characteristic is very prevalent in this song, especially towards the end, where the guitar sound gets much higher and faster as opposed to most of the rest of the album’s guitar work.
The best genre that fits this album would be “melodic thrash metal.” Songs such as “Gridlock” and “Got the Time,” are great examples of the superfluous melody contained in this album, changing from song to song, you never get bored, as most of the melody is not recycled over and over again. The riffs in each song are, overall, pretty different and offer variety to the album. Hearing the same riff over and over again gets stale very fast, even if the melody and originality are present.
The sixth track, “Intro to Reality,” is a suitable instrumental track. It is a calmer song containing simple drum and guitar work and the bass is constant and holds the melody stable. It gets relatively faster towards the end of the song and goes right into the best song on the album, “Belly of the Beast.” “Belly of the Beast,” contains all of the traits that make this album one of the best Anthrax albums. Melody, riffs, memorable and original lyrics, excellent background drum work and did I say melody? Holy shit this song makes me want to listen to the album over again. Such strong listens as “Time,” “Blood,” “In My World” and “Belly of the Beast,” make this album a pleasurable listening experience.
“Got the Time,” the Joe Jackson cover offers a rapid head banging good time. It is a faster paced Anthrax song, and is another highlight on the album. Intensity and speed are the best words to describe this album. This song illustrates the passion that Anthrax demonstrates throughout most of this album.
“One Man Stands,” and “Discharge” are decent listens, although the riffs and melody start to get recycled, especially on the last track which, at the beginning, sounds like parts of “Blood.” They’re still strong additions to the album, even though they’re not the best songs.
If you call yourself an Anthrax fan you should definitely get this album, as it is one of their best, right along with Spreading the Disease. If you want a fun album to listen to, pick up Persistence of Time. It is unquestionably a superior Anthrax release.
Anthrax had taken themselves to a new level with the release of 1988's State Of Euphoria, with the singles Antisocial and Make Me Laugh gaining them much recognition. However, internal difficulties within the band resulted in the temporary departure of Joey Belladonna (although that could have been before the recording of State Of Euphoria, I'm not really sure). This recording was not without difficulties, with an earthquake and a fire in band's house occurring during the recording of the basic tracks in Hollywood, destroying $100,000+ worth of equipment. In 1990, Persistence Of Time was recieved with great anticipation from metalheads everywhere. This was also the last full-length featuring Joey Belladonna, who only stayed on for the EP before being fired in 1992 due to personal differences and an apparent drinking problem.
I guess the infighting and the troublesome recording of the basic tracks really pissed them off, because this is far and away their most intense and darkest record they have ever done. Early Anthrax always had this light-hearted edge that seemed to make their music a little more enjoyable while still sounding heavy. That light-hearted edge is DEAD AND BURIED and never to rise again on this album, and the album is all the better for it. All participants on this album have taken their individual performances to yet another level. Never before has Scott Ian's rhythm guitar been more punishing. Never before has Dan Spitz's leads been more impeccable. Never before has Frank Bello's bass work been more pulsating or Charlie Benante's drumming been so totally over-the-top and awe-inspiring, or Joey Belladonna's voice been more emotive. Never before have they written a meaner riff or a more aggressive song. Never before had Anthrax reached this peak, and as time would tell, they would never reach it again.
Joey Belladonna (vocals) - Joey gives in a similar performance to his work on State Of Euphoria, with perhaps a little lower choice of notes. His voice also retains some the fire it had in areas of State Of Euphoria and intensifies it, and uses it more often. Great swansong from Joey.
Scott Ian (guitar) - It was difficult for just about anyone to top his prior performances. However, Scott Ian has stepped up to the crease and done just that. Not only that, he somehow manages to hit said prior performances for six! His rhythm playing seems to have become even tighter, and his riffing has taken on an even more oppressive feel than before. Far and away his best performance. This is evident on the hyper-speed track Gridlock, which features a faster and yet tighter display of speed picking.
Dan Spitz (guitar) - Another one who has improved on all past performances, Spitz takes the style he was working on in State Of Euphoria and takes it to a new level. This album features his most stunning leadwork to date. Of particular note are his leads on Time and One Man Stands. Melodic, concise, and with just the right amount of shredding interspersed within the lead.
Frank Bello (bass) - This is where Bello shows what an underrated bassist he really is. I remember reading an interview where he said he wanted to keep the rhythm steady, but throw some licks in here and there to keep things interesting. In that quote he has summed up his performance here to a T. Of particular note is his bass solo in the Joe Jackson cover Got The Time, where he plays a few taseful lines, being careful not to overdo it.
Charlie Benante (drums) - If there was any one member who was the most pissed off during the recording sessions, it would be Charlie himself. Like Scott Ian, he not only manages to match his past performances, but surpass them too. He is at his most fill-happy here, and throws them in with an alarming nonchailance as if this sort of thing is far too easy for him. Of particular note in this regard is in Discharge, where he regularly pulls off fills that will make your jaw drop, not only because of the fills played, but because of the frightening ease at which he pulls them off. His double bass is also used to great effect here too, pulled out quite regularly to enhance particularly punishing sections but without overdoing it. This is the first album where Charlie tries his hand at guitar, playing harmony lines with Scott Ian on Intro To Reality, doing a competent job.
Production was once again handled by Mark Dodson, this time in conjunction with Anthrax. Anthrax's input here is obvious, with the clear, yet lighter mix of State Of Euphoria replaced with a production that is dark, ominous and obscenely heavy. The guitars are much more crushing than usual, and Spitz's lead tone is similar to the previous album. Joey Belladonna is mixed to the front as per usual (given his voice, they'd be stupid not to). Frank Bello has some real presence here, and Charlie's kit has never sounded better.
Time - One listen to this and you know you're in for one hell of a dark and intense ride. An odd-timed riff here carries most of the song, which is an excercise in violence to say the least. This song features an emotive performance from Belladonna, some absolutely suffocating rhythm playing, and perhaps the best lead Dan Spitz has ever put to tape. Great way to start off.
In My World - The intensity shown in this track is downright frightening. Although a great deal slower than some of the other cuts, this is the most oppressive and darkest track on the album. An exceptionally tight performance from Ian and some incredible fills from Benante, capped off by an emotive lead from Spitz.
Gridlock - Perhaps the most up-tempo song on the disc, Gridlock starts off with a riff that seems esceptionally fast, even for Scott Ian, and some nice tom-work from Benante. This cut slows down in the verse sections and allows Belladonna to give an uncharacteristically aggressive vocal performance.
Intro To Reality/Belly Of The Beast - This track starts off with a pretty clean guitar line, which is gradually built upon with harmony guitar lines. The song then gives way to Belly Of The Beast, which has such a compelling rhythm and exceptionally tight rhythm work, it is impossible NOT to try to eject your brain through your eyesocket through headbanging. Excellent song.
One Man Stands - THE best song on the album, this carries one nasty oppressive riff, and an aggression and intensity only surpassed by In My World. The lyrical topic here deals with the oppression of people by the powers that be, which explains the intimidating nature of the song. The chorus is exceptionally catchy, especially the last time that it's done. Of
particular note is the lead from Spitz, which rivals Time as his best lead, and a chilling vocal performance from Belladonna that rates as one of his best.
Discharge - An exceptionally violent closing cut featuring impressive rhythm work, a hair-raising performance from Benante and one of Belladonna's angriest vocal performances. Perhaps their most violent closing cut since Imitation Of Life.
The mindset of the band around the time of the recording must have been beyond vile, because this is easily their most pissed-off recording and one of the most vicious thrash LP's I've ever heard. Do not hesitate to buy this. Sell your dog if you have to.