Register Forgot login?

© 2002-2014
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Spiritual eclipse turns the days into nights. - 70%

Diamhea, November 4th, 2013

There was a reason I held out so long on reviewing Overkill's oft-abhorred 1997 release From the Underground and Below. To my ears, it has always been one of the most difficult to categorize, right up there with Necroshine. However unlike it's successor, it wasn't so cut and dry whether or not the album was a mess or an overlooked masterwork. Is it either? Not really.

Right off the bat, as usual, I have to address the production. However, this time I'm not bitching. This may be the best produced Overkill release since Horrorscope and until Ironbound; ironic that it came at a time when interest and the band's resources were probably at a record low. These guitars are massive and the drums rumble your core, just listen to the beginning of "It Lives", when the distortion kicks in, or during the groovy breakdown later on. DD Verni is scaled back more than normal, he is still audible, but it isn't much of a loss because his performances during the '90s were lackluster at best anyway. Comeau gets perhaps his biggest chance to shine alongside Blitz on this album, and the vocals are mixed so masterfully sometimes it is difficult to tell the two apart. Knowing the accolades both individuals have as vocalists, this is a huge compliment to both of them.

This is definitely the grooviest Overkill release, so that will probably turn most off at first blush. The way I see it, at least in this case they totally devoted themselves to the sound, instead of trying to please everybody. This is commendable, but doesn't necessarily mean the material is all searing or memorable. Blitz's voice on here is just...inhuman. His performance falls most in line with Necroshine, which isn't a bad thing at all. His voice sounds monstrous and the sense of rotten evil pervades every single vocal line save for the really out-of-character ballad "Promises". Comeau and Marino honestly never had much to work with during their tenure with the group due to factors mostly out of their control, but the riffs are passable. There are moments of overt thrashing, but they mostly settle into a mid-paced chug that still carries the day fairly well. There are even some great solos, like on the aforementioned "Promises". Finally, while I constantly bash Tim Mallare, I have to admit that he delivers a commendable performance on the kit here, with enough variety to keep things from getting stale. Definitely one of his best performances during his twelve-year tenure.

Despite all of these positives, many of the tracks in the middle of the album tend to blur together in trademark Overkill fashion. Ironically, just like on The Years of Decay, the first three tracks are the best of the bunch. "Half Past Dead" and "Little Bit o' Murder" are both worth a spin as well. "The Rip n' Tear" is pretty fun, albeit uncharacteristic for even someone like Blitz who is just full of surprises. Don't miss that one. Now don't misunderstand me, From the Underground and Below is still very much an acquired taste, but for '97 this kicks plenty of ass and shouldn't be disregarded by any fan of The 'Kill.

Avoids a burial in the groove graveyard. - 70%

hells_unicorn, July 12th, 2010

It’s a foregone conclusion that classic 80s Overkill is superior to it’s modern 90s counterpart, but what is often missed by those who dismiss the latter era is that modern 90s Overkill is superior to about 80% of what flies under the modern groove moniker. Even when at their most groovy, overly polished, slowed down extreme, this New York outfit can’t help but keep their heads above the raw sewage that is radio oriented music. Of their various offerings from this era, save perhaps “I Hear Black”, “From The Underground And Below” flirts the heaviest with Zakk Wylde territory, but still manages to possess a charm that its late 90s contemporaries largely lacked.

From the first thudding note of “It Lives”, which is among the more thrashing grooves to be found on here, it is clear that Blitz, D.D. and company are taking a set of ideas from recent works out of Ozzy, Metallica, Machine Head and a few others and attaching some metallic balls to them. Some of the chugging riffs that filter in and out sound somewhat akin to riffs heard on “Load” or “Ozzmosis”, minus the muddiness and plus a whole lot of punch. “Save Me” takes a few notes from Ozzy’s “Miracle Man” both lyrically and musically, but removing the 80s elements in favor of a Pantera-like feel. Sometimes things get bluesy like in the case of “Long Time Dyin’”, while at others there’s a strong intercession of hardcore into the mix such as in “F.U.C.T.”, but the overall attitude of every song tends to stick to the classic middle finger approach common to the time period.

Generally this approach to metal, at best, is worthy of a lukewarm reception, but a few elements at play here making this a fairly praiseworthy release. Blitz has not forgotten how to carry a tune the way Phil Anselmo did, and delivers solid performance on every song found on here. The guitar solo has not been fully discarded to make nice with radio-friendly maggots that were eating up “Stomp 442” and “The More Things Change”. Further still, much as with the previous album and the follow up “Necroshine”, the presence of famed Liege Lord and Annihilator vocalist Jon Comeau ads a unique flavor to the mix. Being one of the more versatile vocalists occupying the power/speed/thrash styles, when not emulating Rob Halford or Harry Conklin, Jon does a solid job going in similar vocal circles to Blitz. His contribution to “F.U.C.T.”, which is a de facto duet between the two, delivers twice the garbled sleaze and anger with little accounting for subtlety.

With perhaps the exception of the extremely lame power ballad “Promises”, which sounds almost sappy enough have been on an early 90s Annihilator album or maybe even a more recent Motley Crue release, this is a consistent collection of songs. It’s not the sort of thing that should be broken out every day or even every week to complement one’s daily intake of metal, unless it’s to bring credibility to a sorry day of gobbling up groove metal; but it is a good token groove album for fans of purer forms of thrash metal. There’s bound to be a bargain bin somewhere in every major locality with a copy of this in need of rescuing, so why not blow 7-9 bucks on something that’s decent enough.

Originally submitted to ( on July 12, 2010.

From the mouth of the gone - 65%

autothrall, January 30th, 2010

I consider the climax of Overkill's career to be their first four albums (Feel the Fire through The Years of Decay), each a solid effort with more than its share of classic live staples; and Taking Over being the very best of those. However, the band has continued for 20 years past that period, producing a large body of work, most of which is average and acceptable to fans. Many of their albums tend to have 2-3 catchy tracks and then a lot of filler which is easy to forget in favor of the early records. In the case of 1997's From the Underground and Below, their 9th, the material starts off with a bang, and then slowly fizzles out, leaving only a few moments of excitement for the later tracks.

In order to keep themselves relevant to the era, Overkill injected a lot heavier groove into their sound during the 90s, and also (wisely) upped the ante on the production standards of their albums. From the Underground and Below is massive sounding, though it successfully retains that raw, gutter crunch that made albums like Taking Over and Under the Influence legendary. "It Lives" is an intense opening track: after the percussion builds and the thrashing guitars blaze into a big ol' groove, they inject the perfect sample: Looks like you've been up to the devil's business!

And thus the thrashing commences, huge neck breaking grooves as Bobby Blitz spews infectious layered vocals (I like it when he uses this style). The song is quite tight throughout, with some nice further grooves and breakdowns to open up the pit. "Save Me" repeats a vocal sample of miracle man, you're a miracle man over a big Prong-like thrash groove, and the song's thick bass, chugging guitars and wild multi-tiered vocals kick some more ass, as does the murky, bluesy bridge where Blitz busts out a quiet, brief falsetto.

After these two tracks...the album more or less staggers. "Long Time Dyin'" is ballsy and bluesy, imagine Black Label Society fronted by Blitz and you'll get the idea. This isn't a bad song, but the bruising "Genocya" and the mellow "Half Past Dead" are not quite catchy, nor are the punky "F.U.C.T." and the rock & roll anthems "I'm Alright" and "The Rip'n Tear", the last of which is like Southern bar metal with a part for the ladies to dosado:

'Everybody movin from the right to the left
Everybody movin from the life to the death
Everybody movin from the good to the bad
Everybody movin from the happy to the sad
Everybody churnin and life ain't fair
Everybody movin to the rip n' tear'

This is followed by "Promises", which is Overkill's rather awful attempt at a cheesy ballad. It succeeds in breaking up the momentum of the album for a breather, and then things end on a decent note with the rager, "Little Bit O'Murder", which is the best song since the first two, with some nice grooves and great thick bass playing courtesy of D.D. Verni.

From the Underground and Below is not a total waste...and if I were to make a sampler of the band's career I would probably include "It Lives" and "Save Me", more than I can say for a few of the band's previous 90s albums. But the band was capable of far better in the past, and have even produced some superior work since this.

Highlights: It Lives, Save Me, Little Bit O'Murder


Overkill loses its soul - 30%

High_On_Maiden, November 18th, 2005

For a band that released The Years of Decay, this album just isn’t much good. It was released in 1997, and this shows painfully in a lot of the material. There is a strong ‘modern’ undercurrent to this album; a strong, BAD modern undercurrent. I’m all for bands moving their music on and so on – even bands with a grassroots thrash background – but you’d hope that a competent band like Overkill would not succumb to the trends of the late 90s metal mainstream.

The opening track, It Lives, is a bit misleading in a way, because this is quite a solid, strong-paced track if you like Pantera-style thumping metal. The modern leanings are quite obvious though, and it sets the precedent for Machine Head type guitar style, but saying this it’s one of the strongest tracks on the album, which doesn’t say a great deal for the rest.

The track Save Me could be passed off for a Marilyn Manson song, with its boringly simplistic industrial riff and drums which dominate the bulk of the track. The following track then treats us to some very mid-paced groove chugging, which the mediocre vocal melody doesn’t really save. Don’t get me wrong, this is a hell of a lot better than a lot of acts it was obviously influenced by, but nonetheless it’s really a let down up to this point.

Genocya provides a bit more speed, but this is fragmentary and frankly doesn’t make up for the tormented vocals which aren’t completely detached from nu metal. Surely they are aware that this sort of thing can’t make up for the lack of riffs? Oh, and there goes the next track as well, Half Past Dead. Finished. Completely unmentionable.

Where are the fucking riffs?

Finally, some thrash! Well, to a degree. I knew it would be buried somewhere. F.U.C.T. is an enjoyable enough song, with a bit more effort given to constructing riffs rather than just rhythmic passages. Even here though, I don’t find the melodies particularly enjoyable. The drums keep up, but throughout this album I find them annoyingly pounding, which tends to accentuate the emptiness of the riffs. But then we’re back to the characterless sludge which sums up this album – this is the kind of music I’d get irritated by if played at a venue or something: this isn’t what I should be thinking about Overkill! Next track just as disappointing, like something Metallica would have shoved on Load or Reload.

Promises is a fairly competently executed ballad, which gives the listener a rest from the unidentifiable riffs. Congratulations.

The final track is your best chance to head bang I suppose, and harks back somewhat to The Years of Decay -era effortless rocking. It’s a good track, although placing it at the end only enhances the feeling that the band is capable of so much better. This is a very disappointing album which ranges from the mediocre to the downright bad. This could have been such a crushing album, because the production is monstrous! But they seem to have missed every opportunity to write an intelligent riff.

I don’t understand how so many people can rave about the consistency of Overkill’s career with this black hole lingering in their back catalogue. Just don’t buy it.

A monster of blood and steel... - 95%

Snxke, July 6th, 2004

This record has commonly been lambasted as being among the worst records in Overkill's catalog. Sadly for those poor rubes...I am forced to disagree. The records imposing vocals, brutal-but-bluesy guitar-thrash and brilliant lyrics the record sounds more intelligent, vibrant and dare I say violent than they have ever been. The swirling bog of guitars and the mixed vocals just create a sense of chaos previously unheard in the Overkill catalog. By switching their thrash for a more death oriented blues-chug our old NYC stalwarts brought their distinctive hooks to a whole new style of playing. Despite many whining rants, this record is CLEARLY Overkill. It can't be seen as anything the vocals and bass sound alone define the mix.

This is Overkill at their deadliest...despite whatever the bullet-belted clones may wish to decree.

Of the's hard to pick favorites. The monstrous "It Lives" following the religious-bashing "Save Me" both churn with extended power. "Long Time Dyin'" and "Promises" both show tons of amazing riffs and the rest follows suit. I can say little to disparage this record as it clangs, groans, grunts, slishes and dices through your speakers much like a wild animal. The riffs are textured, the lyrics and vocal melodies unique...there is little more that one metal band who "updated" their sound could do. If Exhorder, Black Sabbath and traditional Overkill got in a strange child-birthing mood THIS record would be the result.

Imposing and intelligent...bluesy and ballsy..."From the Underground and Below" is a lost metal classic. The artwork even shows the right side of the band by creating an image the music deserves. the end Overkill will NEVER fail us. If you love them (and I do) they will continue to push out the best of what they do best...and it's pretty much only something they do. Blitz and D.D. did it again!


Hardest working Thrash band ever! - 98%

overkill67, July 5th, 2004

Hello from the fuckin' gutter people. Overkill are the ultimate expression of what a true trash band is all about. An angry vocalist, a solid rythm section, shredding leads and a drummer that sounds like he's having a fuckin' seizure.
From the Underground and below is an array of mindblowing molten thrash metal masterpieces with such a stellar production that you'd almost think these guys were on a major label. From the snapping snare poppin' intro to It lives right up until A little bit "o" murder, this album never strays very far from the realm of genius. No weak songs, no ineffective songs...just pure crowd pleasing monotonous generic THRASH in the vein that only Overkill can produce. Aside from Horrorscope, which was probably the best album of 1991, this is OverKill's 2nd best album and is one of the top ten thrash metal albums of the 90's. Sebastian Marino's guitar work is breathtaking and his leads are so reminiscent of the shrapnel label recording artists that any guitar nut simply cannot deny the ability of this man and his "axe". Blitz is in top form and gives his best ballad performance on Promises. Tim Mallare is a fucking menace behind his kit and often sounds like an octopus on meth. DD and Joe chunk along carrying a rythm section of crunch and mosh for all those who care. This is another great album from one of the most important bands of the genre and it belongs in any self-proclaimed metalheads collection.

The worst Overkill album. - 65%

Ktulu, April 27th, 2003

This was one of the first Overkill albums I ever heard and let me tell ya, it gave me the absolute wrong impression about them. This album is just a jumbled mess of good riffs mixed up with bad ideas and goofy lyrics/vocals. For the most part the album is pretty mediocre all the way through, with some detours to greatness, and other detours to complete shit.

The album starts off with "It Lives", one of the better tunes, and is quite the headbanger. Next is "Save Me", which has a really silly sample thrown in but other than, it's a pretty good song as well. Then we start to go downhill. "Long Time Dyin'" is decent but the majority of the chorus ruins it. "Genocya" is a complete fucking abortion, while "Half Past Dead" matches it, except for it's cool chorus. "F.U.C.T." picks it up a little, as it gets a little more thrashy, with a bit of a stompin' groove thing going on. "I'm Alright" is another waste of four minutes, while "The Rip N' Tear" is better, although silly in some places. The last two tracks, "Promises" and "Little Bit O' Murder" are crap as well, and are quite forgettable.

In my opinion, this album should have been a 5-song EP. Either that, or none of it should have seen the light of day. At any rate, this album is for Overkill die-hards or completists only. If you're not one of those, stay away and just download the good ones mentioned above.