... AND JUSTICE FOR ALL

1. Blackened and off we go; the sound becomes more refined, sharper, more refined, more surgical; the explosion of the CD brings this aggressive side, Kirk shows his dexterity, Lars, often criticized for his organization, hits endlessly, Jason provides the base and James screams at the top of his lungs; the machine gun is back 2. ...and Justice for All bursts forth immediately, 10 minutes, imagine, 10 minutes of syncopated noise, devastating riffs and beginner's pad to scream to the whole world that hard rock is emancipating itself; after that, the miracle happens with the progressive metallic variation that sends heavy; it slams, it belches, it batters the ears but it becomes almost uncontrollably bewitchingly sweet, in short, a musical blockbuster 3. Eye of the Beholder with its rise in power, remember the first listen where we wondered how high it would go; A thin riff, the vocals, nothing new on the horizon until the enjoyable instrumental drift; a little moment where the guitar slips, derails and sets the fire even stronger; 4. One with a short pyrotechnic intro... Yes, in concert, the intro will be reworked with sparks and extra length; in short, here, voiceover on the acoustic guitar, it feels like a love song; the title builds to a logical crescendo, mates, with its rise that every headbanger frantically awaits; from the gentleness you move to this surge of double, triple pedals, this shearing of strings, the guitars roar, red, the riff is unbearable and James manages to scream even louder; the quintessence of heavy metal at its peak; And it's not over yet, as Kirk delivers a memorable solo, electric, fruity, and explosive, again set to a voiceover of rotten warfare.

5. The Shortest Straw, with its explosion of fat pads, is a versatile track with its breaks, its rises and falls, all in keeping with the band's art, pushing the boundaries of hard rock, heavy metal, and rock without borders or limits. 6. Harvester of Sorrow follows the same path with the galloping pad and the nauseating, disgusting riff that makes you want to pout; the riff becomes sharp, and it's the contained violence that becomes the trademark of this unrestrained, aggressive track to the bitter end. 7. The Frayed Ends of Sanity, with its tribal choirs, the even more jerky rhythm, the guitar solo that suddenly comes in and contracts time and space, proof that prog-metal blood runs deep within it. The strength lies in these digressions that go into progressive spaces and don't remain confined to the classic guitar verse chorus; a must, this band that marks a new, unique genre with a hot iron 8. To Live Is to Die for this acoustic worthy of taking your tissues to cry, an end of the song that is cut by this dry, electric drum pad, the raging, violent guitar; the title that best reflects the album with the long intro, the heavy but clear riff, yes the sound is very metallic, Kirk's guitar put forward and it's a good thing; the return of the acoustic at 5 minutes, the guitar that vibrates like a violin, all that makes this title one of my favorites even today; the prog blood is very present there; in short, I write and now 7 minutes, finally a voice or should I say already? Narrated, in the continuity of the gigantic sound of the album; The end comes suddenly, almost 10 minutes in, and the acoustics return, to resume in solfeggio, to permeate the budding musician, perfect. 9. Dyers Eve hits the listener's ear with the return of a title that hits home; a reminder of Metal Militia with its frenetic, fast, and explosive side, the machine-gunning of the recesses of the speakers, and a final, enjoyable solo from Kirk, end of the debate.

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