OVERKILL – “I Hear Black” (1993) Album Review

SUMMARY

IN SHORT

The early 1990’s were a strange time for metal music, and especially thrash bands. Major labels had been adding thrash acts to their rosters to capitalize on the genre’s surge in popularity (thanks to groups like METALLICA, MEGADETH, and SLAYER). Many lesser known thrash acts benefited from major labels snatching up bands. One of those groups was that of New Jersey-based OVERKILL, who was signed by Atlantic Records in 1993. The group already had five albums under their belt by that time, including the classic The Years of Decay (1989) and Horrorscope (1991).

Their first album released on Atlantic Records was I Hear Black (1993). The album has gone on to become the bands most disputed record. Thanks in part to influences from the record company, there was a distinct shift in the band’s style. They changed from up-tempo thrash to a darker, more blues rock-oriented style with nods to Black Sabbath. Production was also a little off (though it adds to the character of the album). Unsurprisingly, this was not well received by many fans of the group. The perceptions of “label interference” turned many fans off from the album altogether and placed a permanent stain on it.  Now, because I am someone who came along years later and found Overkill’s music in the early 2000s, I came with a different perspective in mind. To me, the negativity towards I Hear Black is largely unfounded and comes from a “this is different, I don’t like different” attitude. Does this album sound far different from any other Overkill album? Absolutely! But why does that have to be a bad thing? This record showcases some of the most ambitious and densely written material in the band’s career.

IN DEPTH

The moment “Dreaming in Columbian” begins, it becomes apparent that this OVERKILL album has a different sound and attitude from any previous outing. A mid-tempo track out of the gate might have come as a shock to most OVERKILL fans (who were used to lightning-fast speeds from the band). The sound production is also less thrash-oriented and leans more towards groove and doom metal. Even Bobby Blitz’s vocals are more mature and reserved than on their previous records. “Dreaming in Columbian”, in particular, is full of elements not typical to the OVERKILL sound, including chants. In all, the opening track is an indicator of things to come on the album but an overall solid and entertaining track. 

The title-track, “I Hear Black” , comes next. It is another mid-tempo track with a lot of texture. Fans seem to be divided here, with some even claiming it isn’t even a metal song. Personally, I believe “I Hear Black” is one of the most underrated tracks in the band’s history. I agree that it is different, but it is also very nuanced and hard-hitting. The lyrics are incredible and thought-provoking – giving listeners an insight to the mind of the Son of Sam serial killer. The bridge, beginning at the 2:49 mark, has a BLACK SABBATH groove and is one of my favorite sections of any OVERKILL song. “I Hear Black” is a great track, regardless of where it might fit into the band’s discography.

The album continues with “World of Hurt“. Yet another mid-tempo track from the band! This is the point when most OVERKILL fans realized this album was not going to be thrash. The track  pierces your ears immediately with catchy riffs and a memorable, melodic chorus (its especially melodic for OVERKILL). “World of Hurt” showcases great lead guitar work and the long bridge heading into the solo is almost hypnotizing. One element OVERKILL does not lose on this album is its ability to be visceral and allows listeners to feel the emotion (and pain) conveyed in the track. This is a song I wish OVERKILL would dust off and bring back into their live set.

If the first three tracks strayed away from the usual OVERKILL formula, “Feed My Head” is on another planet all together. What’s impressive is that, at the time the album came out, this track was probably the furthest from their base structure they had ever been – yet it still sounds like OVERKILL! The song has a slow, grinding tempo complete with doom-inspired chugging riffs. It truly is a slow-motion headbanger. DD Verni’s bass elevates the groove element of the track. They even throw in a little blues during the solo. “Feed My Head” is an experimental track for the band that is probably off-putting to some fans of the band but I love seeing them get out of their comfort zone.

Up next is…a radio ballad out of OVERKILL?! “Shades of Grey” reminds me a lot of the alt-rock/experimental stylings of MEGADETH’s Cryptic Writings album. It’s a solid track from OVERKILL but not revolutionary, and I doubt it is on the playlists of many fans. It could be used as a potential gateway to acquiring new fans, but it isn’t very representative of what OVERKILL is, overall.

“Spiritual Void” can be summed up as BLACK SABBATH playing groove metal. The track is the best use of the sound production on the album and has no weak spots. The lyrics are amazing and Bobby “Blitz” has never exemplified a lead singer any better. I also want to point out Tim Mallare’s drums…every drum fill and decision is a perfect match with the song. “Spiritual Void” often competes for my favorite all-time OVERKILL song and is securely in the Top-5. It is THE premier track on I Hear Black.

The follow-up track, however, makes no sense to me. “Ghost Dance” is a useless interlude that adds nothing to the album whatsoever. It isn’t used as an outro for “Spiritual Void” and doesn’t have any connection to the next track on the album. What was the point? To make the album 11 tracks instead of 10? Skip it, every time.

“Weight of the World” is a fun track! It has the fastest tempo on the album, and is a pre-cursor to the direction the band took on their next album (W.F.O.). The track is punk oriented, which deviates from the dark and doomy sound of the rest of the album. “Weight of the World” does have some faults, however. The chorus feels forced into the track (i.e. ‘hey, I wrote this riff that doesn’t fit in any song, let’s just squeeze it in here’). The solo is also pretty nonsensical. All that said, the song is a sneak peak to sound OVERKILL moved to in the mid/late 90s.

“Ignorance and Innocence” is another interesting example of OVERKILL slowing things down and changing things up. It is a combination of punk, blues, and heavy metal. It is another slow-tempo track that throws in doomy vibes. The pre-chorus is the best section of the song (beginning at the “Will I see the light of day?” lyrics). Unfortunately, the track doesn’t really build to anything or go anywhere. It’s essentially verse, pre-chorus, chorus, rinse and repeat. The are enjoyable elements to be sure, but it is not a highlight.

Sitting at tenth on the album is a track the frustrates me to no end. “Undying” is a huge waste of potential and pisses me off every time I listen to it. The track starts soft and slow before building to a badass crescendo – when it kicks in, you think you’re in for a treat. But, the song quickly takes a weird turn and becomes an inconsistent mess. The vocal pattern used over the verse is not the greatest decision and the chorus is straight-up bad; it has zero connection to the rest of the song. The first 1:06 gets an A+ from me, the rest of the song descends into D- territory.

The album closes with “Just Like You“, which begins with an opening guitar riff that relies on amp feedback, and gives the track a raw, live feel. For lack of better word, it is a sweet opening. Top notch metal. The whole track is bursting with punk attitude, from the lyrics to the angry vocals to the raw feel. The vocals do struggle in a few spots as Blitz tries hitting notes outside his vocal register. On the other hand, the chorus is catchy and the bridge is a great juxtaposition from the intensity of the rest of the track.  The bass run and acoustic guitar work let the song breath. “Just Like You” is an underrated and oft-forgotten OVERKILL song on an underrated and oft-forgotten OVERKILL album. Its also a powerful way to wrap up the record.

CONCLUSION

In conclusion, I would sum up I Hear Black as a really solid album that is not nearly as bad as it’s reputation but also doesn’t quite stack up with the all-time great OVERKILL albums (see The Years of Decay, Horrorscope, Ironbound, etc). It certainly deserves more recognition and some of its tracks would be a welcome addition to the live set-list. It also came in at number 9 (out of 19) on our ranking of every OVERKILL album.

HIGHLIGHTS

“I Hear Black“, “World of Hurt”, “Spiritual Void“