On October 9, 1990, the fourth studio album by the American band Testament hit the shelves of various record stores. Known as one of the most characteristic albums in their entire discography, Souls of Black is a record of two curious moments: the rise in the band's career after three successful albums and the challenges faced in the quest to recycle their sound and escape superficiality.
With the expansion of thrash metal and its heavy sound reaching the mainstream, the story of Souls of Black is not just about fans demanding more, but about the band's urgent effort to meet the audience's needs while preparing for the tour that would bear the album's name across more than 50 cities, following the resounding success of the Practice What You Preach Tour and the historic Clash of Titans Tour , alongside Megadeth, Slayer, Suicidal Tendencies, Anthrax , and Alice in Chains .
With a lineup at the time consisting of Chuck Billy (vocals), Eric Peterson (guitar), Alex Skolnick (guitar), Louie Clemente (drums, 1983–1985, 1986–1992, 2005–2006), and Greg Christian (bass, 1983–1996 and 2005–2014), the band, formed in 1983, was originally called The Legacy , which is also the title of their debut album. Greg Christian Steve Souza took over vocals . The following year, their first demo, titled First Strike is Deadly, was released, still featuring Souza on vocals, who soon after left the band to lead Exodus . After his departure, Billy took over vocals.
Testament's fourth album, Souls of Black
In 1987, forced to change the band's name to Testament due to copyright issues, the album bearing their original name was released by Megaforce Records The New Order in 1988 and Practice What You Preach .
In the midst of a very busy year, the beginning of the 90s was undoubtedly a milestone in their history, as it elevated the band to the status of one of the titans of world heavy metal.
Although met with criticism from a portion of its audience, its fourth studio album, Souls of Black , arrived in stores that year carrying the roots of thrash metal throughout its 10 tracks, which portray, with depth, reflections on society, politics, manipulation, and internal doubts.
Vocalist Chuck Billy revealed in a 1991 interview, reproduced by Hang the Dj! TV , that the band only had four or five weeks to compose and record in the studio before embarking on the Souls of Black Tour that same year. Guitarist Alex Skolnik added, "It was a lot of pressure and difficult. We always had time to compose songs, and this time we basically only had a month to write."
Following the advice of his friends from Judas Priest , who in October 1990 were able to share the stage on the Painkiller Tour , guitarist Eric Peterson said, regarding the release of the fourth studio album, that the band sought to play something heavier and more challenging and that, despite the different "worlds" between the colleagues, it is this energy that made the roles so important.
Influences from the great names of thrash metal
Upon listening to the album, it's possible to identify the influences of bands that dominated the scene, such as Metallica and their companions from the Clash of Titans Tour . In an interview given in the important year of 1990, during the Headbangers Ball , when questioned about the European influences on the album's composition, the vocalist confirmed and added: "we brought old feelings and aggressive music with a different vocal style, while maintaining our roots."
Featuring over 10 recorded tracks that propelled the band to the 73rd position on the US Billboard 200 , Souls of Black is as historic as the band that produced it.
Starting with the intriguing opening track that blends into the second track, "Beginning of the End," and its growing fingerpicking that accelerates into the heavy intro of "Face in The Sky," which greets the listener with the characteristic guitar riff that defines thrash metal, the album's second track leads us to self-questioning and a true vision of a world that is not so fantastical.
Following on from “Falling Fast” with the same aggressive lines, Peterson's powerful and striking solo carries the soul of the track, while Chuck Billy sings in the background, reflecting on living in a dark society.
Songs that speak about our society and that remain very relevant today.
Not coincidentally, the fourth song on the album is precisely the title track, "Souls of Black," which, despite slowing down slightly compared to the previous tracks, is marked by intense guitar riffs and drum lines, remaining a fan favorite to this day. With its critique of idolatry and political manipulation that "destroys hope with promises," Testament shows that it's not just another band reproducing plastic thrash metal.
Next, “Absence of Light” speaks about the oppression of the masses and how fear has become a “product” for those who promote war. The solo composed by Peterson is, once again, marked by the intensity and anger that the lyrics evoke.
"Love to Hate" and "Malpractice," the sixth and seventh tracks on the fourth album, bring back the speed of the first two tracks. In the compositions, Chuck Billy reinforces that the plot revolves around political and social criticism, again evaluating the oppression and manipulation of the masses by using "unknown plans to make them follow his orders like rats of death." "Malpractice" deserves special mention; with its more melodic solo, it has become one of the best tracks on the album, in my opinion.
Solos, riffs, heaviness, speed, vocals, and everything that makes thrash great.
In “One Man's Fate,” Greg Christian's bass lines are the main focus, dictating the rhythm of the rest of the song and culminating in a melody that prompts reflection on the album's overall narrative. In the vocals, Billy sings about the present and how life, besides being fleeting, doesn't return, as one cannot pray over an open grave.
Considered one of the best and most memorable songs in Testament's career, the ninth track, "The Legacy," with a more melodic tone that breaks the heavy intensity of all the previous songs, immediately reveals itself as the apotheosis of Souls of Black . Listening to it in sequence, one gets the impression that the album, up to that point, had only prepared the ground for the guitar riffs to capture the listener's attention. The melody of "The Legacy" is unparalleled and deserves its fame, as it reflects on the pact of fame and fortune.
The influence of bands like Megadeth, Judas Priest, and Slayer on Testament's compositions is clear, and for good reason, because these bands often shared the road for long periods, making the exchange of experiences obvious. Despite never sharing the stage in 40 years, it's possible to see how present Metallica is in the band's list of influences, which doesn't stop them from pursuing originality and their own signature style.
Closing the tracklist, “Seven Days of May” accelerates in every aspect with an invitation to rebel against the political prisons created by the government. Once again, Peterson and Skolnick's compositions, together with Louie Clemente's drum lines and Chuck Billy's powerful vocals, bring the necessary impact to the message the album intended to convey, transporting a feeling of revolt to the listener.
Success in the studio and on the road.
Although criticized by some, Souls of Black reflects the genius of the band, who at the time managed, with great effort, to release an album of such high quality, made in just one month and in the midst of their solo tours: Practice What You Preach Tour, Painkiller Tour, Class of Titans Tour, and then immediately embarking on another solo tour with the Souls of Black Tour .
In other words, what Testament did in 1990 was something few could achieve. Almost 200 performances in the same year, during which they changed their setlist at least three or four times to adapt to the audience they were playing for, and still had the energy to compose and produce a completely new album.
With Eric Peterson and Alex Skolnick standing out, I'd venture to say that my favorites from the album were "Malpractice," "One Man's Fate," and of course, "The Legacy" and the title track, "Souls of Black."
As a fan of the subgenre, I can say: this is not just an album that carries the essence of thrash metal. It is a reflection of the talent and the moment that the band that marked the history of heavy metal was experiencing as they lived through one of the best years of their career.
Despite not being free from lineup changes, record label issues, and the illness that nearly robbed us of Chuck Billy's brilliance in the early 2000s, the importance and overcoming of challenges seen throughout Testament's work is undeniable, with particular emphasis on Souls of Black , not only for its composition but also for the context in which it was created.
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