Overkill Ironbound Reviews Encyclopaedia Metallum: The Metal Archives

overkill ironbound

There are many songs on this one which just go in through one ear and go out the other. Making you wonder what the song is about, The themes and the lyrics aren’t very clear. One other problem i have personally, is the ordering of the tracks, I’m not convinced by the starting track which clocks in at over 8 minutes long. There seems to plenty of re-hashed material which feels like they’ve been recycled from old overkill and exodus albums. There is still some fantastic solo-ing to be found on tracks like ‘The green and black’ and ‘Give a little’.My favorite track on this album is ‘Give a little’ which has a really catchy and addictive chorus featuring ‘group-shoutings’. The riffs of this album can’t help but give you the feeling “Where did i hear something like this before?”.

With grunge dominating the airwaves in the United States, many heavy metal radio stations changing formats and Headbangers Ball going off the air, W.F.O. failed to find an audience and in 1995 Overkill left Atlantic Records. Overkill were happy to leave the major label, where they felt they received little or no attention and signed to different record companies around the world (CMC International in the US). In November 2000, the band toured Europe as a special guest of Halford’s Resurrection world tour. Since Overkill had not found a new rhythm guitarist yet, Comeau joined on a temporary basis for the tour.

overkill ironbound

The production is pretty good, The bass is clearly audible, as in most kill albums. ‘endless war’ is pretty good, The track just about saves the whole album from going stale at the right time. This this content still features more ‘talking’ and less ‘singing’ like their previous 3 albums. Ironbound is a good album, The biggest problem being the track ordering and the length of few of these songs.

Verni, guitarists Dave Linsk and Derek Tailer, and new drummer Ron Lipnicki. Lamb of God vocalist Randy Blythe contributed vocals on the song “Skull and Bones”. Overkill signed to Spitfire Records and entered the studio in late 2002 to record lowest price their next studio album, Killbox 13. Produced by the band and Colin Richardson and released in March 2003, the album was actually only their twelfth regular studio album, but the Overkill EP was also counted to achieve the number 13.

See The Goal Is Your Soul, a tune that captures this exact approach with far more precision. This isn’t a glaring problem, and none of the songs are criminally overblown, it’s more hints just that the general amount of them coulda been trimmed even a minute or two. The only remotely short one is the speed metal induced Bring Me The Night and it fuckin’ rules!

Early covers, especially those done under the Virgin Killer name, were punk songs by the Ramones, the Dead Boys and others. By late 1980, the band’s setlist was made up of songs by bands such as Mot rhead (including songs from Overkill and half of the Ace of Spades album), Judas Priest (“Tyrant” was their closer), and Riot. Along with the new influx of heavy metal covers, the band still played a smattering of punk covers, with extra distortion, intensity, and speed. More songs would follow, such as “Death Rider” (1981) and “Rotten to the Core” (1982).

That is basically how the album kicks off and never really lets up the intensity from there. The first 3 tracks are basically a trilogy of awesomeness and a precursor of what is to follow. I mean, it’s all in the context of Overkill but they kinda explore everything the band has dipped their glorious fingers into over the course of their 25+ year career. You have the epic (The Green And Black, Ironbound), the thrash (Bring Me The Night, The SRC, Endless War), The heavy/doom (The Head And Heart), and the modern/groove (Give A Little, The Goal Is Your Soul etc) and even The Killing Kind-era hardcore-ish (In Vain). Every instrument is heard with crystal clear quality and precision.

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