Reviews list for Testament - Souls of Black (1990)

I first got into Berkley thrash metallers Testament after blind-purchasing their 1989 third album "Practice What You Preach" shortly after release, having been driven by the comparisons with my beloved Metallica. I'd share my CD with Ben who was just coming to grips with thrash himself & together we'd investigate Testament's earlier albums with Ben perhaps becoming a little more enamored with the band than I was. This would result in Ben purchasing 1990's "Souls of Black" CD as soon as it was released & we'd once again give it a bit of a flogging together over the next month or so. Strangely, I haven't returned to "Souls of Black" as regularly as I have Testament's first three records over the years & I recently realised that I wasn't quite sure as to why so decided to give it a revisit.

"Souls of Black" shares some common traits with Exodus' "Impact Is Imminent" from the same year in that it's a very similar record to its predecessor which inevitably draws like-for-like comparisons, only neither come close to matching their elder siblings for overall quality. The production job is a clear obstacle with the rhythm guitar tone being noticeably thin & tinny, a failing that was always going to hurt a band like Testament which lives & dies by its classy guitar work. The tracklisting begins in muscular fashion with the impressive flamenco intro track "Beginning of the End" leading into my personal favourite "Face In The Sky" but the quality immediately takes a step down from there with only the more technical "Malpractice" seeing it rising to the same heights again. The album is completely devoid of classics & there are a few inclusions that I can only deem to be failures too (see "Absence of Light", "Love to Hate" & particularly the misguided attempt to emulate the ballad from Testament's previous album in "The Legacy"). Front man Chuck Billy does his best to work with the material he's got but the song-writing is simply a little light-weight & isn't helped by the production job. The saviour would be lead guitarist Alex Skolnick as usual & his contribution is once again the clear standout of the release.

Don't get me wrong. "Souls of Black" isn't a poor album as such but it's certainly not the record Testament were looking for at the time. I enjoy 70% of the material but I never really came close to awarding four stars as the production & the few filler tracks were always going to be an insurmountable obstacle. Drummer Louie Clemente is another as I've always said that he has no place in a thrash metal band with his simple, rocky style seemingly fighting to keep Testament from sounding too extreme. I've never felt that Testament were deserving of a tier one thrash metal status & "Souls of Black" does nothing to change that opinion even if it's definitely worth a few listens.

Souls of Black was (according to Chuck Billy) written and recorded in a rush to get the band on the European leg of The Clash of the Titans tour with Slayer, Megadeth and Suicidal Tendencies. It sounds like it in all honesty. From the off you cannot fail to hear the scratchy sound to the guitars and the overall compression on all the production, with tinny drums and too much echo on Chuck’s vocals. Given the experience of Michael Rosen in the production chair and the late Tom Coyne covering mixing duties this is a surprising outcome but one that somehow does not entirely ruin Souls of Black.

Over repeated listens, the album has grown on me. It will never be a regular play though because (production issues aside) it is so inconsistent. This must be down to the hectic nature of the album being put together as Chuck describes, even though this is clearly a thrash metal record, it sounds rushed and that cannot be hidden by the sheer intensity of the rhythms that the band deploys. When the band are on point (Absence of Light, One Man’s Fate, Malpractice and the title track) they truly do motor at a huge rate of knots. However, the rest of the album is just filler with a smattering of promise of greater things littered largely throughout the lead work of Alex and Eric.

By comparison, Louie Clemente seems lost in the mix, occasionally bobbing his head above the squall to remind us he is there pounding away. Despite being audible he somehow lacks presence on the record. Greg’s bass is also able to be heard – if not in a muffled sense – but overall, no instrument escapes the poor production job. The most obvious element is still Chuck’s booming vocals that get enough restraint from the production to the benefit of the album overall, but they sound detached from the rest of the band’s performances, like they were over-layered as an afterthought somehow.

Not the best Testament record they have ever done but still has some enjoyable elements to remember even if they are not enough to bring me back for repeat visits.