I know what you're thinking: Metal is probably just another crappy Annihilator record lacking essential qualities to make it seem remotely enjoyable. While such an idea has been completely accurate before, it's not proper to give the release in question an identical label, because this does not suck at all. In fact, Metal impressively ties up the regression of Schizo Deluxe by smartly holding heaviness and memorable 80s textures together. Despite screwing up again and again and again, longtime guitarist Jeff Waters has finally organized his mentality and created something the planet never deemed possible: an Annihilator release after 1990 that doesn't totally blow ass. Believe it or not, Waters' twelfth recording really doesn't have any musical fads at all, but that's not possible, right? I mean an Annihilator album containing speedy heavy metal licks, technical percussion, and Waters' insane solos while simultaneously avoiding mass repetition could never happen! Ironically, that's what Metal is all about. Every anthem fearlessly follows a blatant pattern of heavy-as-hell instrumentation without cycling the same design endlessly; it's like they've finally snapped back into decency after years of absence. "Couple Suicide" is really the only awful track because of Danko Jones' whiny voice and Angela Gossow's pseudo-growls trying to fit underneath a stupid funk vibe, which ends in total disaster; however, it'll quickly perish when encountering this CD's nine remaining songs. Overall, this is a very solid effort that obediently lives up to its name by refusing groove or nu-metal touches when given proper advances.
Dave Padden acted unfit for Annihilator's criteria by forging multiple vocal atrocities, yet Metal clamps down on his woes and gives rejuvenation to the man's tarnished reputation. Instead of annoying screams, Annihilator's seventh singer utilizes an aggressive tone more fitting for the metallic barrage, which was really the only problem with his past performances. Now that he's in place, Dave sounds well-balanced for Waters' ever-changing musical agenda whether singing over a thrash riff or some mid-paced dicer. And I think a lot of you will appreciate Padden cracks down on his emo whines as there is an effort to minimize it despite seldom appearances in restricted intervals.
Walking alongside Waters' band is a cart containing ten hand-picked visitors appearing to glaze their own talents over Annihilator's comeback, although the whole concept isn't too beneficial overall. This selection of well-known musicians doesn't impact Metal much as anyone could easily find both positives and negatives depending on the guest and circumstance, but how each person feels strongly relies on the individual's own taste in metal. For example, Nevermore fans will most likely praise "Clowns on Parade" as this album's best track due to Jeff Loomis' distinct soloing style, yet anyone that detests his leads won't have a mutual feeling; that's basically how the guest appearances work. It'll feel good hearing some new voices and instrumental qualities in Annihilator's camp, yet such a large attachment will just feel limited in its perks.
Aside from an occasional distraction, Metal proudly stands over previous Annihilator blunders with its multiple degrees of triumphant cleverness and mighty dynamism. It's really nice to finally hear an album from these crazy Canadians that represents core metallic values while shoving trendy textures away; something Annihilator hasn't ever done. Calling this a masterpiece would be a grand exaggeration as it is flawed; however, Metal warmly shows concrete evidence of Annihilator's evolving nature while reentering their old-school roots quite nicely. My only advice would be to ignore all the illogical bigotry and try out a few tunes before coughing up cash on Jeff Waters' twelfth full-length offering.