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My first recollection of Something Wicked was that John Connelly had joined Megadeth in the 90s, because certain songs here reminded me of Mustaine's writing for tracks like "Symphony of Destruction" off of Countdown to Extinction, or perhaps something from Youthanasia. A painfully simplistic, chugging riff leads into an escalating lattice of melody, primed for easy radio accessibility, and somehow lacking that dystopic nuclear fervor that made me such a fan of their first three albums. As one progresses through this record, the motif seems to hold up, and it feels about as different an experience from Nuclear Assault as John's side project John Connelly Theory which put out an album in 1991. Sure, his vocal inflection binds the groups together, but if not for his presence, and the logo on the awful cover to this record, I wouldn't have even known it was a Nukes release.
Ironically, it's his vocals that prove one of the saving graces for this album, keeping it from plunging fully over the precipice to utter suck. He adds a little more rock and roll spice to his formula, while keeping that raw, urban harshness that defined the earlier works. Almost like an East Coast Chuck Billy, with a few traces of former Whiplash singer Glenn Hansen (in fact, Something Wicked does occasionally remind me of their 1989 LP Insult to Injury). He even pulls off the moodier pieces like "The Forge", with dire, bluesy acoustic guitars, or "No Time", the sorta power ballad in which he pulls off some of his most refined melodies ever. In fact, this album has more clean guitars than any other in their catalog, a sign they were striving for that added mainstream penetration, that late breakthrough they never quite reached in the prior decade. Unfortunately, the brighter points to Something Wicked are counterbalanced by one of the most mundane riffing selections you'd find anywhere: nothing offensive or lacking in variation, but pitifully average at a time when the genre had been largely reduced to just its most ardent supporters, and the dustbin.
I realize there's a more horror spin to the lyrics here, what with the Ray Bradbury inspiration to the title/title track and the Twilight Zone-themed cut "To Serve Man" (both cool topics in my estimation). The Cold War had receded, the street fighting mutant clobbering Damnation Alley aesthetics of the past records probably seemed moot. There were also two new members in the fold: David DiPietro of Jersey might-have-beens TT Quick replaces Bramante, and bassist Scott Metaxas has some huge shoes to fill with Dan Lilker having gone off to focus on grind superstars Brutal Truth. The former's flashier guitars are certainly felt through the album with the added licks and leads that burst out through pieces like "Another Violent End", while the latter just doesn't have those same, pulverizing rhythmic chops that his predecessor brought to the band. Neither is incompetent, but certainly their performance here contributes to the album's clear separation from their prior outings, and when they've only got such generally simplistic, chugging post S.O.D./M.O.D. riffs to work through, what could we really expect?
Reinvention I can handle, but not at the cost of that vital, youthful energy the band thrived upon through the 80s. Tunes like "Something Wicked", "Madness Descends" and "Chaos" are capable of getting the head banging for a few seconds, until one realized that nothing surprising or memorable is coming down the pipe. So many of the guitar progressions and lead sequences remind me of something Dave Mustaine would have written around this time that it's almost a distraction. They've also brought back a few of the useless ditties that plagued older albums, with the 9 second "Art" and a 40 second acoustic variation of "Another Violent End" called "The Other End". Only a few tunes like "Poetic Justice" (pre-profanity bridge) are ultimately able to conjure up that violent momentum of a Game Over or Survive, and while Connelly and Evans each deliver a decent performance, I found the album a sliver less impressive than Out of Order, which was already a letdown for many of the band's fans.
All kinds of ways to look at and review this album go through my head. Just listening to ‘a’ Nuclear Assault album? Or listening to what Nuclear Assault could pull off after the ‘Out Of Order’ debacle and change in line-up? Or even listening to it as if it were a new band? Whatever option I choose, the album won’t score higher than ‘average’ and history has almost forgotten this piece as well.
Let me start by saying when you’re used to hearing their first three albums over and over, this album just doesn’t do it. There’s a lack of speed save a few sparse moments (‘To Serve Man’ and ‘Poetic Justice’) and John Connelly’s manic screeching vocals are nowhere to be found. Thirdly the leads and solo’s are more blues scale orientated and diminish the energy and aggression even more. It’s okay and logical if a band develops and grows through the years but for me just too many characteristics are missing here to speak of ‘a’ Nuclear Assault album. It must be said though that this still can be considered a thrash metal album albeit slow and quite melodic. Not ridden with groove like other thrashers would do at this point in metal history. Also I must admit ‘Something Wicked’ is probably the best produced and heaviest album in Nuclear Assault’s history.
Now there’s the comeback moment after the ‘Out Of Order’ debacle. 50% of the line-up is gone (of which one was an important song writer) and obviously this has done good for the continuity of the album in terms of style consistency. When compared to ‘Out Of Order’ this album has a single style and message and sounds really convincing. However we are missing out on speed and aggression here and it would be too easy to think all of that only came from Lilker and Bramante on previous albums. I’ve read drummer Glen Evans was responsible for earlier thrashers like ‘Emergency’ and ‘Search & Seizure’, so what’s his excuse here?
Had this been a ‘new’ band or solo project from a Nuclear Assault member, I would have liked it more. As I said earlier too many Nuclear Assault characteristics were missing here (hell, even the logo had vanished). The album had some mighty strong (mid paced) riffs here and especially John Connelly shows off his ability to write and sing catchy (melodic) vocal lines. Yes, I like this a lot more than earlier projects such as Glenn Evans’ C.I.A.
In 1993 this album didn’t fall out off tune too much. It was heavy, slow or mid paced and had a high amount of melody. But fortunately it didn’t groove, did not suffer from ‘Panterisms’. It was a whole lot more solid and thrashier than what Testament, Exodus, Overkill, Metallica, Sacred Reich and Megadeth were up to. ‘Something Wicked’ is an album I still like to put on every few years when I’m in the mood for some pounding thrashy riffs and rhythms but keeping a slow heartbeat.
Kick ass right from the get-go. Those thrundering drums followed by that monster riff on the intro to the title track is fucking masterful work of thrash metal artistic genius. Onto Another violent end...which should be called another violent riff...indeed a thrasher to shred ol' headbangers, but only of the "truest" form. Next up, Behind Glass Walls, a great song with some catchy moments and some great musical performances, another classic piece of song writting in the thrash metal vein. Chaos, and so it is, track # 4 is fuckin' sweet with some awesome lyrics and very diverse drumming by the notorious Glenn Evans. The Forge has to be one of the most melodic, yet still very metalish songs that the Nuke's have ever written, the harmony over the bridge part is awesome and will send shivers down your icy spine. Next up is no time, and again, I have all the time in the world for this song as it is catchy and memorable from beginning to end (so is this whole fucking album now that I think about it). To serve man is a nice thrash piece with some great speed metal riffs and kick ass double bass drumming, with John Connely's unique vocals searing through an intense wall of sound. Madness Descends is like an epic style song that is done in around minutes, sounds kind of impossible does it? Well then listen to it and you'll see what I mean, and the chorus on this one is as catchy as anything these guys have ever done. # 9, Poetic Justice is the last real song on this album, and its about as hilarious as anything Cheech and Chong have ever come up with, but its not a joke when it comes to the actual structure and quality of this song, for it is an excellent track and is a thrasher from start to finish. The last two tracks are "Art" and "The Other End" which I have absolutely no idea why these were included on this album, especially "Art" which is nothing more than an SOD style of joke. I suppose that "The other end" could''ve worked as an effective intro or even outro to a song, specifically Another Violent End.
Well there you have a quick but worthy breakdown of this quality album by of of the East Coasts most prominent thrash bands....next to Overkill of course!
This album could have been fantastic. It really could. Unfortunately for Nuclear Assault, SOMETHING WICKED just doens’t have the consistency to make it that way. Also, the fact that this band used to play such fantastically spastic, punk-ish thrash lowers my opinion of this album as well. Of course, the fact that bassist Danny Lilker and guitarist Anthony Bramante are absent on SOMETHING WICKED probably has something to do with that.
Anyway, we start off with a very good song. The title track chugs along at a steady mid-pace, much akin to something Metallica wrote on the black album. Close to thrash, but lacking the breakneck speed to make it so. John Connelly’s vocals are formidable here, as well as on every other track. The production is also decidedly thick, another factor contributing to the half-thrash sound. It’s not bad, but a little heavy on the bass.
Moving along, "Another Violent End", "Behind Glass Walls" and "Chaos" are all decent songs, with some brilliant moments in each. Some parts get a little repetitive, though. The album divebombs in quality at "The Forge", a very slow song, until it gets fast, but it's still pretty sleepy. "No Time" is of the same ilk
There are two real, bonafide thrashers on this album. "To Serve Man" could have easily found its way onto Nuclear Assault’s 1986 classic GAME OVER, while "Poetic Justice", silly lyrics notwithstanding could as well. The other full song here, "Madness Descends" has some nice riffs, but it's mostly forgettable.
The last two tracks are a waste of time. They’re the short little numbers that the band has become notorious for throughout their career, like they’re making a statement... or something. Art? Huh? Overall, this album has its fair share of good moments, but it also has quite a few bad ones. Oh yeah, and if you like the proto-thrash of bands like Machine Head and Skinlab, then do yourself a favour and get this. You’ll probably love it.
This is their much-maligned final (?) album, though it's really not as bad as people imagine. It's just that, with precisely one exception, the violently awesome thrash breaks that the band is known for are just about gone.
That one exception... Poetic Justice. The lyrics are complete crap, but then around 1.35 (after the "bunghead motherfucker, I know you and your family, cocksucker" part) there's a fucking nice riff that pretty much is what we've come to expect from Nuclear Assault. Fuck yeah. A-banging we will go!! Come on, you asshole!!!
The rest... the opening track is pretty cool - kinda midpaced but a steady headbanging number. Then, Another Violent End has some cool riffs as well, and also some insane shredding soloing in the middle. It's at "Behind Glass Walls" where things fall apart a bit - there are just a bit too many acoustic passages in here and the song is kinda slow and goes through the motions far too much for its own good.
Chaos, also known as Don't Blame Me, is also pretty damn good, even though the chorus is just a bit forced with the yelling part... (Sign! In! Blood! anyone?) some good solid riffs to be found here in the verses and the middle section. The Forge and No Time... sort of the ballad section, and they aren't horrible but just not really brilliant. Hanging in the Balance, this is not.
To Serve Man is fast as fuck, and a bit tighter than their previous fast stuff (see the stuff on the second half of Handle with Care for instance) and there's a great speed metal break after the main solo. Nice fucking song. Madness Descends is another slower song... it's not as bad as the awful Wired from a few albums back, but it's not really great either. It rides one solid riff into the ground.
Oh and the last two songs... I don't even care. "It's art, man." I REALISE that you're trying to make a point here, but it's still completely wasting my fucking time. And The Other End is just a silly acoustic outro.
Overall - this isn't a bad album by any means, it's just not a great one. Sometimes the songwriting falls quite flat. It's probably worth getting, but don't expect another Game Over!!