Testament – Para Bellum (Album Review)
I’ve been waiting to carve out some time to write about the new Testament album, Para Bellum, and I’ve finally got it! I have a rule that I don’t review albums without listening to them at least a few times, so I needed a few days to digest it. Now that I have a much better sense of what we’re dealing with, let’s dive in.
Before we talk about the album, let’s talk about the band. Testament is, of course, one of the most experienced metal bands that is still active today. They started their career in the ‘80s, and even though they dealt with some difficult times (and Chuck dealt with some scary health problems) in the early 2000s, they managed to storm back onto the scene with the full intensity we’ve come to expect. They’ve been unstoppable ever since.
The lineup has remained relatively consistent over the years, especially compared to their peers in the genre. Eric Peterson and Chuck Billy are the stalwarts who have anchored the band for decades, writing the majority of the material. Lead guitarist Alex Skolnick, who left in the ‘90s to pursue other musical interests, returned in the early 2000s and remains a key part of the sound. Long-time bassist Steve Di Giorgio rejoined in 2014 following Greg Christian’s exit. Finally, after a long stint with Gene Hoglan (and a brief return of Dave Lombardo), the band recently recruited Chris Dovas. Para Bellum marks his recording debut with the group.
The album’s overall mix feels similar to previous releases, so I initially assumed Andy Sneap handled the production again. However, the credits show that Para Bellum was mixed by Jens Bogren. To my knowledge, this is the band’s first collaboration with Bogren, who brings a wealth of industry experience to the table. I was surprised not to see Sneap’s name, since he has manned the boards for every album since The Gathering in 1999. That said, Andy’s role with Judas Priest has expanded significantly in recent years; between touring and production commitments, it’s understandable he sat this one out. I wouldn’t say Bogren has the exact same style, but the result isn’t a drastic departure, either.
As for the songwriting, here lies the double-edged sword of modern Testament. If you are looking for consistency, Para Bellum delivers in spades. It fits perfectly alongside their output from the last two decades. But when you have a lineup this insanely talented, “consistent” can sometimes feel “safe”. Yes, there are blast beats here and there, there’s some black metal influence, and there is even a ballad, so you have some diversity which I truly appreciated as a fan. I just wish there were more curveballs to keep listeners guessing.
Having said that, even if the blueprint is familiar, the construction is flawless. Once I stopped waiting for a musical revolution and simply accepted the album for what it is, I found plenty to enjoy. The formula might be safe, but the riffs are still lethal, and the individual performances are top-tier. Let’s dig into a few of the standout tracks that prove there is plenty of life left in this machine.
For me, the best song on the album is Nature of the
Beast. It sounds like late ‘80s Testament but with modern production, and you
can clearly hear the NWOBHM influences. It’s less aggressive than the openers,
leaning more into melody, but it is incredibly well-crafted. It serves as a
good reminder that Testament can execute this style just as well as the fast thrashers. It also features a great lead section that builds up nicely and adds
so much texture to the track. I know most fans want The Gathering-style
intensity all the time. I get that, it’s my favorite album too! But let’s not
forget this band delivered classics like Practice What You Preach and Souls
of Black, which were full of melodic metal. This track is a clever nod to
that era.
Room 117 is another highlight where melody meets aggression. Listening to this track, I realized just how much I’ve been missing the more melodic side of the band. It’s more straightforward than the first few cuts on the record, but that allows the riffs some breathing room to establish a serious groove. It carries that same classic heavy metal influence and goes hand-in-hand with ‘Nature of the Beast.’ These are definitely two of the strongest songs here.
While researching this article, I found an interview where Chuck Billy recalled asking Eric Peterson if these were even “metal riffs” (referring to Nature of the Beast, Room 117, and Havana Syndrome). He joked that he wasn’t sure if they belonged on a Testament album. That tells you these tracks sit a little outside the usual box. I know Chuck was just being cheeky, but rest assured, these are absolutely metal songs. I’m just glad Testament chose to include them. Testament can do melodic metal as well as, or even better than, their contemporaries. Why not explore that? It’s far more interesting than repeating the same song structure over and over.
Let’s also talk about Meant to Be, the ballad I alluded to earlier. Testament is no stranger to the power ballad, but this track stands out. While Eric Peterson dominates the album’s songwriting, this is a rare moment where lead guitarist Alex Skolnick co-wrote the music, giving it a distinct flavor. Notably, the song marks a first for the band: a proper string arrangement. We aren’t talking about keyboards or samples here; this features performances by renowned cellist Dave Eggar, who provided the arrangement along with Chuck Palmer. Testament excels at these dynamics, using distorted guitars to widen the sound while keeping the emotion intact. Some metal bands avoid slower tempos, but when done well, as it is here, it adds a crucial layer of depth to the album.
While I prefer the more melodic side of this album, there are some incredible songs that bring me back to the Gathering days. The title track, Para Bellum, has a barrage of riffs that remind you why Eric Peterson is one of the best rhythm guitarists out there (he plays quite a few leads on this record too!). If I were to pick a favorite among the heavier songs, this would be it. Great way to close out the album, too. I also loved Shadow People a lot. It’s perhaps a mid-tempo track, but definitely on the heavier side and I just love the way the riffs hit you. The mix allows the bass to shine on, too. When you hear the main riff, everything blends well together. I guess Eric was inspired by the horror movie Evil Dead Rise and wanted to compose something that sounded evil. I’d say mission accomplished!
Then you have Infanticide A.I., which is arguably the fiercest track on the record. Lyrically, it tackles the modern anxieties of artificial intelligence, but musically, it’s a showcase for their new drummer, Chris Dovas. His drumming here is relentless, driving the track with a level of ferocity that has breathed new life into the rhythm section, especially in the second half of the song.
There are great moments in the remaining tracks, too, but these are the highlights for me. I especially think very highly of Nature of the Beast and Room 117. They are likely to make a space for themselves in any Testament playlist I may put together.
It’s 2025 and Testament is alive and well! These guys know exactly what they’re doing, and Para Bellum is further proof of that fact. I’m curious to see what comes next. Maybe an album that embraces even more melody while maintaining the heaviness? A fan can dream…
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