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Metal - Verschenen op 1 januari 1987 | Island Records (The Island Def Jam Music Group / Universal Music)

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Generally considered the band's best album, Among the Living broadened the scope of Anthrax's subject matter with socially conscious lyrics addressing prejudice, violence, drug abuse ("Efilnikufesin [N.F.L.]," a rip on John Belushi), and the hollowness of the music business, as well as a politically correct ode to the "Indians." However, the band refuses to take itself too seriously, also recording tributes to Stephen King and Judge Dredd. Musically, the band delivers a powerful, aggressive roar driven by impossibly fast riffing and the changing tempos and collectively shouted vocals of hardcore, especially on the classic "Caught in a Mosh." The brutal rhythm guitar work of Scott Ian and the explosive drumming of Charlie Benante relentlessly push the songs along while still maintaining a solid groove, and more than make up for some lyrical awkwardness. Among the Living remains arguably Anthrax's foremost achievement. © Steve Huey /TiVo
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Metal - Verschenen op 20 november 2015 | Universal Music Group International

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Rock - Verschenen op 18 december 2007 | Megaforce

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Metal - Verschenen op 1 januari 1988 | Island Records (The Island Def Jam Music Group / Universal Music)

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The proper follow-up to Among the Living was somewhat disappointing in its inconsistency. While there are some good moments -- "Be All, End All" is one of the band's most melodic moments, and several other tracks catch fire -- the best thing here is a cover of Trust's "Antisocial," and it doesn't bode well when covers outshine original material. The lyrics continue the self-consciously intellectual, PC approach begun on Among the Living, but about half of the album is surprisingly dull. © Steve Huey /TiVo
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Rock - Verschenen op 1 januari 1991 | Island Records (The Island Def Jam Music Group / Universal Music)

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Rock - Verschenen op 26 februari 2016 | Nuclear Blast

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Het elfde studioalbum For All Kings van de metalformatie Anthrax opent met een orkestraal nummer. Maar daarna gaan de Amerikanen op het album uit 2016 weer ouderwets los. De dertien songs klinken even strak als furieus. For All Kings is ook het eerste album waarop de nieuwe gitarist Jon Donais te horen is. © TiVo
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Metal - Verschenen op 21 augustus 1990 | Island Records (The Island Def Jam Music Group / Universal Music)

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Metal - Verschenen op 1 januari 1985 | Island Records (The Island Def Jam Music Group / Universal Music)

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Metal - Verschenen op 12 mei 2009 | Megaforce

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Metal - Verschenen op 21 juli 1998 | Megaforce +

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Rock - Verschenen op 3 maart 2003 | Nuclear Blast

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Rock - Verschenen op 27 april 2018 | Nuclear Blast

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Rock - Verschenen op 16 september 2011 | Nuclear Blast

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Metal - Verschenen op 1 januari 2013 | UMC (Universal Music Catalogue)

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Rock - Verschenen op 29 november 2004 | Nuclear Blast

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Metal - Verschenen op 21 augustus 1990 | Megaforce

As one of the pioneers of thrash metal - alongside Metallica, Slayer and Megadeth - Anthrax is still the least-known band of the Big Four. According to the band members, their best album is Persistence of Time, released on August 21, 1990. Though, it shows the first signs of a band that never really found itself. 1990 was a pivotal year and Anthrax weren’t the only ones who wanted in on it: Slayer released their cult record Seasons in the Abyss and Megadeth responded with their even more cult-y Rust in Peace. 
 Other lesser-known bands also came to join the thrash scene, such as Sacred Reich with their super-brutal American Way or Coma of Souls from the band Kreator who brought an rahter gory touch to the genre. Each of these releases contained the thrash's DNA while also revealing unique identities. With albums such as Fistful of Metal and Among the Living, Anthrax showed off their interesting ability to offer up enjoyable, uncomplicated thrash, becoming the go-to band for fun yet technical music. 
Persistence of Time was a much more technical and serious offering. You can’t help but bow down to Scott Ian with his masterful rhythms and to Joey Belladonna with his soaring vocals (perhaps his best yet). The album deployed an arsenal of sophisticated compositions such as Time and H8 Red. Keep It in the Family is still Anthrax’s darkest song to date. Joe Jackson’s Got the Time stood out on the record, seeming to be much more in line with Anthrax’s sound on their previous albums. So yes, this was the band’s most technical and successful album, but they had sacrificed a part of their identity. Sound of White Noise, which would follow in 1993, would see them return to their basic recipe without ever managing to balance it with the technicality of Persistence of Time. This is perhaps the greatest frustration with the New York band. © Maxime Archambaud/Qobuz
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Rock - Verschenen op 24 november 2003 | Nuclear Blast

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Rock - Verschenen op 24 november 2003 | Nuclear Blast

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Rock - Verschenen op 1 januari 2005 | Mercury Records

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Metal - Verschenen op 1 januari 1987 | Island Records (The Island Def Jam Music Group / Universal Music)

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Generally considered the band's best album, Among the Living broadened the scope of Anthrax's subject matter with socially conscious lyrics addressing prejudice, violence, drug abuse ("Efilnikufesin [N.F.L.]," a rip on John Belushi), and the hollowness of the music business, as well as a politically correct ode to the "Indians." However, the band refuses to take itself too seriously, also recording tributes to Stephen King and Judge Dredd. Musically, the band delivers a powerful, aggressive roar driven by impossibly fast riffing and the changing tempos and collectively shouted vocals of hardcore, especially on the classic "Caught in a Mosh." The brutal rhythm guitar work of Scott Ian and the explosive drumming of Charlie Benante relentlessly push the songs along while still maintaining a solid groove, and more than make up for some lyrical awkwardness. Among the Living remains arguably Anthrax's foremost achievement. © Steve Huey /TiVo

Artiest

Anthrax in het magazine
  • Take 2
    Take 2 When the band from Queens, NY, started work on State Of Euphoria, they were still part of the holy trinity of thrash, more or less level-pegging with Metallica and Slayer.