Persistence Of Time ($5 Special)

SKU: 422-846 480-2
Label:
Island
Category:
Thrash Metal
Add to wishlist 

"Album number four for New York metal thrashing extraordinaire's Anthrax. Persistence of Time used to be my favorite Anthrax album, and even though I give the edge to Spreading the Disease I still rate this one highly, and I prefer it to the likes of Among the Living.

Persistence of Time has the distinction of being Anthrax's most accomplished release, well, as far as musicianship and performances go. The band decided to take themselves seriously here and this album feels right at home amongst the Victims of Deception, Years of Decay, Twisted Into Form crowd. A lot of the bands slight crossover element is largely missing, with the exception of the "Got The Time" cover, which serves as highly beneficial to the release.

The tracks are quite a bit longer than usual here, with the opening four numbers swimming a see of six - seven minute tracks. Anthrax really deliver over the longer time periods and the songs are given a lot more room to grow. When concerning production I feel that by todays standards Persistence of Time happens to stand up the best amongst the bands work with Joey Belladonna. The mix is fantastic, and the bass has a great prominent sound which as a result leaves this album sounding the heaviest of the Anthrax backlog.

"Time", "Blood" and "Keep it in the Family" are all massive in scope as far as Anthrax goes, and these songs are among some of the best the band have done. From the darker edged riffs, to the build up and dynamics this is all good. "Keep it in the Family" is a particularly awesome example of Anthrax ala Persistence of Time. Not to blow their wad in the first half of the album we have the awesome "Gridlock" which houses some of Anthrax's most menacing work, and the bad-ass "Belly of the Beast". Proabably the catchiest track on the album (not including the cover), this was actually the first Anthrax song I ever heard, and has some fond memories attached to it.

Persistence of Time is a really cool release, and is reflective of its given genre at the time. Thrash was pushing forward in quite an exciting way, yet somehow it all went wrong. Even now when we have a fuck load of caricature thrash bands, none of them try to progress like Anthrax did here. Despite the niggling "Got The Time" the rest of the album is awesome and is of interest of any thrash fan, especially those with interest in the later releases around the late 80's early 90's." - Metal Archives

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • "Esoteric Recordings are pleased to announce the next release in the continuing series of reissues of the entire catalogue by the legendary classical rock band SKY. Formed in 1979, Sky brought together the worlds of rock and classical music in a highly successful and inspiring way. Featuring the gifted talents of guitarist JOHN WILLIAMS, percussionist TRISTAN FRY, legendary bass player HERBIE FLOWERS, former Curved Air keyboard player FRANCIS MONKMAN and guitarist KEVIN PEEK, Sky recorded their debut album at Abbey Road studios in the early months of 1979. The band’s self-titled debut reached the UK top ten in May 1979 and went on to achieve Platinum status in the UK and was also a major hit in Europe and Australia. Also a huge live attraction, SKY released their second album in April 1980. "SKY 2” was a fine achievement, featuring the hit single "Toccata”, and topped the UK album charts upon its release. For this, the band’s third album, STEVE GRAY replaced Francis Monkman on keyboards, but the band continued their run of success as SKY 3 reached the UK top ten upon its release in March 1981.The album’s success followed a highly memorable concert by the band at Westminster Abbey in London on February 24th 1981, which was recorded and broadcast by BBC Television and later released on home video cassette.This Esoteric Recordings edition has been newly re-mastered and includes a companion DVD (NTSC / Region Free) of SKY AT WESTMINSTER ABBEY,  (the first ever DVD release of this classic concert). The original album artwork is fully restored and the booklet features a new essay."
    $19.00
  • Remastered with bonus tracks."By the late '90s, guitarist Gary Moore was at a career crossroads. Should he continue on the path that brought him his biggest stateside success (Still Got the Blues), or try something a bit contemporary? The ex-Thin Lizzy member decided on the latter, issuing Dark Days in Paradise, an album that saw Moore utilize electronic beats and, of course, his trademark soaring guitar work, rather than blues-rockers. And you have to give the guitarist credit -- he does venture outside of what you'd usually expect from a new Moore album, whether it be the Beatlesque "One Fine Day" (which contains a bassline quite similar to the Fab Four's "Rain") or the keyboard-heavy ballad "Like Angels" (which sounds like it's straight from 1987). While fans of Victims of the Future may be left wondering where the hard rock went, Dark Days in Paradise will be an interesting listen for fans curious to hear Moore trying new approaches." - Allmusic Guide
    $9.00
  • "Back in the late eighties and early nineties I was a huge fan of that eras best thrash metal. Bands like Slayer, Testament, Death Angel, and Forbidden drew me in with machine gun double bass drums, lighting fast rhythms, and aggressive vocals. One Machine is the brainchild of guitarist Steve Smyth, best known for his stints in some of metals finest bands including Nevermore, Forbidden, Dragonlord, Vicious Rumours, and Testament, a stellar resume to be certain! For One Machine’s debut album, Smyth has formed a band that is compromised of a who’s who in the world of extreme/underground metal who were carefully selected by Smyth: Mikkel Sandager (Mercenary) on vocals, Jamie Hunt (Biomechanical) sharing guitar duties, rounded out by a powerhouse rhythm section with Tomas “O’Beast” Koefoed (Mnemic) on bass guitar and Michele Sanna on drums (although former drummer Raphael Saini of Italian progressive metallers Chaoswave played on the album). The Distortion Of Lies And The Overdriven Truth was recorded and produced by Steve Smyth. Mixing was handled by guitarist extraordinaire Roy Z (Judas Priest, Bruce Dickinson, Halford), mastered by Alan Douches (Three Inches Of Blood, Firewind, Sepultura) from West West Side Music with artwork created by Niklas Sundin from Cabin Fever Media (Dark Tranquillity, Arch Enemy), complimented with photography from Anthony Dubois (Meshuggah, Mnemic).The songs harken back to the 80′s Bay Area thrash movement of bands like Early Metallica, Testament, Death Angel, Exodus, and Forbidden and melds it with the classic metal style of Painkiller era Judas Priest and the melody of Vicious Rumours. Lead vocalist Sandager sings clean for the majority of the album but can growl out some extreme growl vocals as well as ear piercing screams that would make Rob Halford proud. He also has a vocal similarity to Russ from Forbidden in places (Crossed Over). Unlike a lot of their thrash metal forefathers, the band has a penchant for writing choruses with melodic and catchy hooks (Armchair Warriors). The music is chaotic at times (Killing The Hope Inside) almost to the point of no return, only to transition into a melodic passage that brings things back from the abyss. The guitar solos are as frenzied and speedy as the songs, at times reminding me of classic Slayer. What you have here are ten no nonsense slamming brutally heavy tracks that will make you want to jump in the pit. The title track sets the tone for the album with neck snapping, whiplash inducing headbanging thrash metal. There are some lighter moments such as in Kill The Light Inside and most notably the dark and moody mid-tempo of Last Star Alights, but for the most part, each song on the album takes a turn pummeling the listener with heavy riffs and brutal rhythms (see Evict the Enemy).One Machine is a band with a tremendous upside and possible crossover potential in the mainstream metal market with the right promotional push. Fans of Smyth’s revious work in Testament, Forbidden, and Nevermore will find a lot to love about this band, while fans of more melodic fare might be surprised to find lots of catchy melodies and hook laden choruses to sink their teeth into!" - Lady Obscure
    $15.00
  • "Remastered from the original tapes are Godzilla; Goin' Through the Motions; I Love the Night , and the rest of this 1977 fave. PLUS you'll hear unissued versions of Be My Baby; Please Hold; Night Flyer , and more!"
    $7.00
  • "Stanley and I had been working together for some time before we made this record. We often talked about the possibility of recording an album together and Epic agreed to let us do it. The interesting thing about this record is that it is a power trio record. Stanley and I decided right away that this record would live or die by us; that we had to be the focus of this record; not the orchestration, not the background vocals, etc. The music had to emanate from us and by us, and that would make it unique. Stanley and I decided to make a totally different record from what the record company expected. We felt we had to stretch the boundaries. I'm sure Epic thought they were getting a fusion jazz record; But Stanley had played all the Return To Forever music he cared to by this time.The largest surprise for Epic was the song we chose as our first single from the record, "Sweet Baby." In fact they fought us on this track. The R&B department said it was too white and there was nothing they could do with it. The pop department said we were black artists with a white record and that they didn't have the time to promote this record at pop radio. So Stanley and I went to an independent promotion firm (Cliff Gorov) to push this record, and in essence bypass CBS. Well, needless to say, when the record began to make some noise, CBS jumped in as if they were there all along and brought the record home.I wrote "Sweet Baby" while looking over the water one afternoon in Berkeley, California while we were already in session for the project. It was written very quickly, and I called Stanley, who was in the room next to mine, and told him to come over and listen to this little pop song. I thought he would hate it, but just the opposite happened. We went in the next day and recorded it and the rest is history. To date, it is my largest across the board hit record. I finally made the top ten pop charts, WOW!We chose John Robinson as our drummer because of his strong steady approach to rhythm. He was with Rufus and layin' it down real hard. He was perfect!!Stanley and I were constantly on the road, doing television shows, or whatever. I broke up my band during this period and everyone went their separate ways. One thing I should mention that meant so much to me during this period, was a congratulatory phone call from Quincy Jones. After we hit the top ten, Q called me just to say "a job well done" I'll never forget that gesture on his part. "Q, I'll always love ya!!"Don't ask me why we did so much singing, but we did!! We wanted to make an instrumental record with vocals as a vehicle to communicate. Besides, instrumentals were not and still are not played on top radio formats. We went after this one and were fortunate to realize our dreams. We became R&B/Jazz/Pop stars for a moment. This LP also became the vehicle for my first video. Actually, it spawned three videos. I can remember that Stanley and I were extremely upset that MTV would not play any of our videos because we were black artists. I guess they can't be accused of that now! Oh yeah, we got a Grammy Nomination, but lost. It was 1981." - George Duke
    $8.00
  • Latest studio album from this highly prolific symphonic rock band from Mexico. The band has developed their sound over the years - all for the better. They now feature Spanish vocals (in general the vocals are much much better than the old days). Flute and keys play an important part of the sound. Make no mistake, this is old school prog all the way. There is a bit of Mexican folk flavor that creeps in now and again but all that does is add some additional personality. Easily the band's best work.
    $14.00
  • Crystal Breed is a new prog metal band out of Germany. While there is plenty of chops from hell on display there is also a very strong melodic side to the band. They constantly emphasize vocal harmonies. In an odd way I am reminded of Queen, Neal Morse, The Beatles, ELO, and Muse...and that's just all in one song. The band catches your ear with a pop element but then they hammer you with some killer solos. If I had to make a comparison it would probably be to A.C.T (and whatever happened to those guys anyway?). Clever catchy stuff. Highly recommended.
    $16.00
  • "Esoteric Recordings are proud to announce the release of a newly re-mastered and expanded edition of the classic 1969 album A SALTY DOG by PROCOL HARUM. Released in June 1969, the record followed on from the huge international success of the band’s debut single "A Whiter Shade of Pale” and the follow up single "Homburg” and the superb albums PROCOL HARUM and SHINE ON BRIGHTLY.  One of the finest releases of the era "A Salty Dog” saw the exquisite song writing of Gary Brooker and Keith Reid honed to perfection on highlights such as the album’s title track, "The Devil Came From Kansas”, "Wreck of the Hesperus”, "The Milk of Human Kindness” and more.  Recorded at Abbey Road studios, the album captured the excellence of the musicians in the group, namely Gary Brooker (voice, piano), Robin Trower (lead guitar), David Knights (bass guitar), B.J. Wilson (drums) and Matthew Fisher (Hammond organ).Newly re-mastered from the original tapes, this Deluxe edition of "A Salty Dog” has been expanded to include 12 bonus tracks (5 previously unreleased) over two CDs, including the mono single mix of the title track and its non-album B-side; an early take of ‘The Milk Of Human Kindness’, plus five previously unreleased tracks from BBC Radio sessions from October 1968 & May 1969 along with four live tracks recorded in the USA in April 1969.This expanded deluxe edition of "A Salty Dog” also includes a lavishly illustrated booklet that fully restores the original album artwork and features a new essay by Procol Harum biographer Henry Scott-Irvine"
    $19.00
  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • "Talking Heads found a way to open up the dense textures of the music they had developed with Brian Eno on their two previous studio albums for Speaking in Tongues, and were rewarded with their most popular album yet. Ten backup singers and musicians accompanied the original quartet, but somehow the sound was more spacious, and the music admitted aspects of gospel, notably in the call-and-response of "Slippery People," and John Lee Hooker-style blues, on "Swamp." As usual, David Byrne determinedly sang and chanted impressionistic, nonlinear lyrics, sometimes by mix-and-matching clichés ("No visible means of support and you have not seen nothin' yet," he declared on "Burning Down the House," the Heads' first Top Ten hit), and the songs' very lack of clear meaning was itself a lyrical subject. "Still don't make no sense," Byrne admitted in "Making Flippy Floppy," but by the next song, "Girlfriend Is Better," that had become an order -- "Stop making sense," he chanted over and over. Some of his charming goofiness had returned since the overly serious Remain in Light and Fear of Music, however, and the accompanying music, filled with odd percussive and synthesizer sounds, could be unusually light and bouncy. The album closer, "This Must Be the Place (Naive Melody)," even sounded hopeful. Well, sort of. Despite their formal power, Talking Heads' preceding two albums seemed to have painted them into a corner, which may be why it took them three years to craft a follow-up, but on Speaking in Tongues, they found an open window and flew out of it." - Allmusic Guide
    $6.00
  • This is a new project put together by ex-Xystus drummer Ivo van Dijk.  Its cut from a similar cloth to that band's Equilibrio album in that its a full blown epic all-star project.  While Equilibrio was based on an opera, Karmaflow is actually based on a video game that Ivo was involved in developing.  The album features the Metropole Orchestra and the following participants:Vocalists:Simone Simons - EpicaMark Jansen - Epica, MaYanDani Filth - Cradle Of FilthLindsay Schoolcraft - Cradle Of FilthMarc Hudson - DragonforceAlica White-Gluz - Arch EnemyElyse Ryd - AmarantheCharlotte Wessels - DelainHennning Basse - Rage, MaYanMariangela Demurtas - TristaniaTony Kakko - Sonata ArcticaDaniël de Jongh - TexturesLisette van den Berg - Scarlet StoriesBas Dolmans - XystusMusicians:Ariën van Weesenbeek - EpicaCoen Janssen - EpicaRuud Jolie - Within TemptationIvo Severijns - PowerplaySander Gommans - HDKMerel Bechtold - Delain, MaYan, Purest Of PainBob Wijtsma - Blaze Of DarknessLuuk van Gerven - After ForeverUri Dijk - Textures, EtherealWill SchutAnd did I mention the Metropole Orchestra?  Yes I did.  Again.This one is crazy good.  Highest recommendation.
    $14.00
  • Norwegian prog revivalists Tusmorke have returned with their second album.  The band has moved on from Termo Records and has now found a home at the up and coming Svart Records label.  On this release the band sings in three different languages with English thankfully being one of them.  Lots of splashes of organ and even some symphonic sounding keys.  Overall the band's sound draws heavily from the British prog scene of the 70s.  You'll definitely hear the imprint of Jethro Tull and Incredible String Band with the former more prominent than the later.  Highly recommended."Norwegian group Tusmorke ("Twilight") is a strange beast. With roots stretching deep into the Scandinavian neo-progressive rock underground of the early nineties.The identical Momrak twins recorded a Tusmorke demo in 1997 but soon put the band on hiatus for several years.Tusmorke returned in 2009 with a full electric lineup and the debut album "Underjordisk Tusmorke" appeared three years later.May 2014 sees the dark minstrels return with a sophomore album "Riset Bak Speilet" ("The wand behind the mirror").A 50-minute transmission from the heart of the darkest northern forests, the album skillfully channels the spirit of classic British acid folk rock and soaks it in a black witches cauldron.The spellbinding concoction is at times reminiscent of classic acts like Jethro Tull and Incredible String band, and also not entirely far off from modern forest magicians such as Hexvessel and Wolf People."Time is an illusion when the music of Tusmorke is played: it ceases to exist. The listener loses her grip, our knowledge no longer stems from social media or printed newspapers: everything the modern world has made us believe, evaporates.Our ears grow into cones, blood turns thin.""
    $8.00
  • "Esoteric Recordings are pleased to announce the release of a remastered edition of the 1980 album by the Canadian Progressive Rock group FM, City Of Fear . The band began life in 1976 with CAMERON HAWKINS (Synthesisers, Bass, Vocals) and NASH THE SLASH (Jeff Plewman) (Electric Violin, Mandolin, Vocals) coming together as a duo, making an appearance on national TV in Canada in the Summer of 1976. By March 1977 FM became a trio with the addition of MARTIN DELLAR on Drums. The band s debut album followed. In 1978 Nash the Slash was been replaced by BEN MINK on Electric Violin and Mandolin. City of Fear was the fourth album by the band, released in 1980 and was produced by Synthesiser wizard Larry Fast (of Synergy and musician with Nektar and Peter Gabriel). This Esoteric Recordings release is the first time City of Fear has been issued in Europe and has been newly remastered and includes an illustrated booklet and a new essay."
    $17.00
  • Fine English gloom metal influenced by Pink Floyd. Now at a mid-line price.
    $13.00