Reviews

By 1989 thrash metal had hit its commercial peak, and what once a small number of bands was now a torrent of second and third wave opportunists poorly imitating their heroes. Testament understood this all too well, and with album number three took their band into unknown territory to ensure they stayed ahead of the pack. Still undeniably thrash, Practice What You Preach was somehow different. It was compact and streamlined, showing a modern attitude and also a new maturity to the band's lyrics. From the moment the title track launches, this is apparent, as the song grooves rather than pummels. Gone are the lyrics of dark entities and demonic tales, and instead frontman Chuck Billy barks a rebuke at the self-righteous. If the listener wasn't hooked yet 'Perilous Nation' will certainly draw them in. A tale of the dangers of patriotism, it is one of the catchier tracks on the album, and although it also contains some of the fastest riffs it is infectiously listenable. Billy growls lyrics throughout, showing real conviction to his words, further strengthening the connection to the listener. Many of the songs are mid paced, and noticeably simpler than the previous albums, leaving the whole album feeling efficient. That doesn't mean the musicianship is sacrificed, and Alex Skolnick and Eric Peterson again proved themselves as two of the best axemen in thrash metal. 'Greenhouse Effect' follows the trend at the time of songs about environmental damage, and the band even goes out on a limb to include a full-blow ballad (imaginably named 'The Ballad') which is a cry for help after losing someone. Quirky instrumental 'Confusion Fusion' ends the album, and 45 minutes has just pasted by in no time at all. The performances are loose in a way that many of the groove metal bands of the next decade would mimic, forgoing absolute precision for a more live feel. Although this makes the album feel organic, it does mean some of the dynamics of overdubs are missing, and the whole thing sounds rather one dimensional. Generally seen by fans as a 'safe' album by the band, it is rarely called a favourite, but it is certainly far from a bad album in any way, perfectly filling a whole for many headbangers upon its release.

Here at TheBigBlackMachine HQ we have often debated what is the greatest sophomore release from the bands we love to listen to. It's been a while since we discussed, however if not at the top of the list (you could consider the likes of Pearl Jam's Vs. for example) this release would easily be a very close second. I assume most of you know the back story of Silverchair. Little runts from a parents garage in Newcastle who just happened to handle their instruments very well. This first release Frogstomp got a lot of positive and equally negative response across the globe. Yes the globe, not just Newcastle, not just Australia. They hit the jackpot so-to-speak. It did come with a heap of expectation. Can they do it more than once? Well like a big finger causing a moon eclipse, they did it in spades with Freak Show. They don't muck around in easing you into the record with the wall bashing, guitar smashing 'Slave'. If you are not awake, you're dead by now. This leads into a classic Johns vocal output adding to the pressure on a frail neck muscles. From here there is very little head up although 'Abuse Me', the following track is equally elegant and saddening at the same time. It sits at a perfect point in the record. You will find similar low-tuned songs scattered through the record, including 'Cemetery' and 'Petrol And Chlorine'. I could comment on all 13 songs on this 48 minute classic example of modern Australian rock/alternative music, but I won't. Other highlights for me are 'No Association' - just a face pummeling insult. Live through this - good luck. 'The Door' and 'Learn To Hate' also being highlights for me. There you go, I'll stop at that with the highlights. But really, being almost 30 years old, it would stand up today if it was a new release. Something today's music scene has been missing for a long time.