Overkill are one of the most enduring acts in the thrash metal scene today. Formed in New Jersey in 1980, the group have no less than 17 full length albums to their name. With such a wealth of material, it’s natural that there be peaks and troughs in quality, but since 2010’s Ironbound, Overkill have been on a winning streak. With The Grinding Wheel, they aim to keep that high quality run rolling on.
And roll on they do, although not with the sort of force the band and their fan base would like, as The Grinding Wheel is more akin to a car propelled by a gradually decreasing momentum after the engine has cut out than the high octane juggernaut their recent releases have been. This is Overkill alright, but it’s pretty much Overkill by numbers. There are no bad songs by any means, but there really is very little in the way of stand out cuts. There are a few great ideas scattered throughout the hour long run time, but unfortunately there’s no songs that really nail what they’re going for. The riffing is the biggest disappointment; a largely generic collection of speedy thrashers, simple grooves and bog standard chugs. Certainly competent, but underwhelming for the most part, especially considering the quality Overkill have delivered in the past. Thankfully, the vocals and rhythm section deliver where the riff department does not. Bobby Blitz’s coarse wail ups the ante dramatically, with the sort of youthful vigour that belies his 57 years. Ron Lipnicki is also stellar on drums, elevating the more lethargic moments with his energetic fills, driving beats and nifty footwork. The production also helps, with the razor sharp guitar tone and chunky bass giving everything a larger than life sound.
“Mean Green Killing Machine” starts with promise, a thrashing storm brewing before settling into a modestly paced headbanger. It flies by nicely until it bizarrely segues into a Sabbath-esque groove that completely changes the mood of the song. It’s a decent segment, but it just doesn’t fit. It’s a similar story for the title track, with a marching snare procession leading the way into a mid tempo, heavy metal stomp. It’s superb stuff, as is the relentless thrash break mid way through, but the ill fitting turn of pace ruins the chance to craft an excellent mid tempo epic. The main riff of “Goddamn Trouble” bounces like a petulant patient in a padded cell; Blitz’s vocal pattern also having a sprightly spring in its step. “Come Heavy” has a similar bounce, almost upbeat in manner, whilst a rip roaring solo laid over hammering snare rolls paves way for the fun, quasi thrash of “The Long Road”. The sparse chug of “Our Finest Hour” gives the verses room to breathe, with an effective guitar motif backing Blitz’s memorable vocal line in the chorus. These sorts of catchy vocal patterns are a recurring theme throughout the album, again highlighting Blitz’s enduring value to the group. On the other end of the scale, the quartet of “The Wheel”, “Red, White and Blue”, “Shine On” and “Let’s All Go to Hades” exude the energy that’s rife throughout the record, but are sadly victims of the aforementioned riff deficiency.
The Grinding Wheel is most definitely listenable, but it pales in comparison to Overkill’s more recent efforts. The conviction and energy is there, but the song writing is not up to the lofty standards they’ve set themselves in recent years. I’ve no doubt fans will enjoy it, but I feel it’s an album destined to dwell in the also ran stakes of 2017.
Rating: 6/10 – a step down from the lofty heights Overkill had recently ascended to.
Highlights: “Goddamn Trouble”, “The Long Road”
Band links: Facebook, Official Website
The Grinding Wheel is available worldwide on February 10th, via Nuclear Blast.
