The 1990s weren’t exactly an easy decade for classic thrash metal.
Grunge was everywhere, new sounds were taking over and even established thrash bands were experimenting with heavier, darker and more modern styles.
Two bands that refused to simply stand still were Testament and Overkill.
Testament went darker and more extreme with “Low”, while Overkill pushed further into chunky 90s groove metal with “From the Underground and Below”.
Different records. Different approaches.
But if you could only buy one, which one are you taking home?
Testament – “Low”
Released on September 30th, 1994, “Low” was a major turning point for Testament.
It was the band first album without founding guitarist Alex Skolnick and original drummer Louie Clemente. In their places came guitarist James Murphy and drummer John Tempesta, bringing some serious death-metal experience into the Testament camp.
And you could hear it.
Testament thrash roots were still there, but “Low” pushed into death metal, groove metal, progressive and alternative influences, creating a darker and more aggressive sound.
The biggest surprise for longtime fans may have been Chuck Billy growls. On tracks like “Dog Faced Gods” his vocals moved into much more extreme territory, giving listeners a glimpse of the direction Testament would continue exploring.
The album even contains the strange instrumental “Urotsukidōji” named after the controversial Japanese dark-fantasy anime. Eric Peterson created the track by piecing together leftover guitar riffs and adding his own vocal soundbites.
Behind the scenes, the album had its own twists.
The initial alternative-leaning mixes didn’t satisfy the band, so Michael Wagener was brought in to remix the record, helping restore the heavier metal punch Testament wanted.
“Low” was also dedicated to Savatage guitarist Criss Oliva, who had died while Testament were working on the album. There’s an especially bittersweet connection here: Alex Skolnick, who had recently left Testament, temporarily played with Savatage following Oliva’s death.
And “Low” marked the end of another chapter.
It was Testament final album with Atlantic Records, after which the band created its own imprint, Burnt Offerings Inc.
The lineup was:
Chuck Billy – vocals
James Murphy – lead guitar
Eric Peterson – guitars
Greg Christian – bass
John Tempesta – drums
Tempesta stay was remarkably brief. After finishing the album, he left to join White Zombie.
Overkill – “From the Underground and Below”
Overkill took a different road.
Released in September 30th, 1997, “From the Underground and Below” found the band moving further away from their classic thrash sound and deeper into the chunky groove-heavy style of the 1990s.
Think stomping riffs, darker guitar textures, groove-heavy passages and sudden bursts of speed.
The album still had plenty of Overkill aggression, but it wasn’t trying to recreate the band 1980s sound.
Tracks like “Long Time Dyin’”, “Half Past Dead” and “It Lives” showed the band heavier 90s direction, while “Promises” brought a more atmospheric, semi-ballad side into the mix.
The album was initially self-produced by the band before Colin Richardson was brought in to mix it. Known for his work with bands such as Fear Factory and Machine Head, Richardson helped give Overkill a more modern sound for the era.
There were also two interesting covers recorded during the sessions: the Sex Pistols’ “No Feelings” and Deep Purple’s “Space Truckin’”.
And according to Bobby “Blitz” Ellsworth, this is one of his favorite Overkill albums.
The lineup featured:
Bobby “Blitz” Ellsworth – vocals
D.D. Verni – bass
Sebastian Marino – guitar
Joe Comeau – guitar and vocals
Tim Mallare – drums
The album divided listeners. Some heard an overlooked gem that gave Overkill a fresh identity, while others felt the band had been pulled too far toward the sounds of mid-90s metal.
And that’s exactly what makes this an interesting choice.
Two Thrash Legends. Two 90s Directions.
Testament went darker, heavier and more extreme.
Overkill went groovier, more modern and more experimental.
Neither album sounds like a band simply trying to recreate 1980s thrash.
So forget which one is supposed to be the “winner”.
Imagine you’re standing in a record store in the 1990s and have enough money for ONE album.
Which one are you buying?
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