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Even vanuit Duisland de grote plas oversteken naar Amerikaanse thrash. Review is niet van mij.
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The day has finally arrived for the release of the new album from the well-known Flotsam and Jetsam. They're one of those bands that never received the recognition they undoubtedly deserve. For nearly four decades, the Americans have been consistently doing their thing, and their debut, "Doomsday for the Deceiver" from 1986, and "No Place for Disgrace" from 1988 are among the most important albums in American thrash metal. Interestingly, the band is experiencing something of a revival after all these years. "The End of Chaos," "Blood in the Water," and "I Am the Weapon" showed that Flotsam and Jetsam are still capable of recording music at a very high level. This is excellent proof that they are capable of producing excellent albums that are just as good as the band's classics. Now, just two years after their last album, the Americans return with their sixteenth album, "Rats in the Temple." A slight decline in form is noticeable, but the playing remains top-notch. 
"Rats in the Temple" is a decidedly thrash album, but the Americans have never been a band to pigeonhole themselves. Alongside fast, uncompromising riffs, we find more melodic passages, powerful choruses, and the band's signature guitar harmonies. This keeps the album from becoming monotonous, even though its foundation remains very strong and aggressive. The best part is that they don't forget about the catchiness and melodic elements. This makes the album easy to listen to and memorable. The band has once again ensured a strong and lush sound, which adds a fierce edge to the whole. The artwork is also impressive, although it has a kitschy quality. 

From the very first seconds, it's clear there won't be any clinging to the past. " Harvesting the Hate " opens the album with tremendous energy, and Eric "AK" Knutson's distinctive vocals immediately remind us why he's been one of the most recognizable voices of American thrash for so many years. The guitars of Michael Gilbert and Steve Conley sound heavy and aggressive, but there's also plenty of melody, which has long been a key element of Flotsam and Jetsam's style. It's a very successful and catchy track, and it's no wonder the band chose it to promote the album. " Damnation " is a slightly different experience, showcasing a more classic side of the band. " Absolutely " picks up the pace again and is one of those tracks that's hard to sit still to. " Blame the Knife " also performs well, with its aggression intertwined with melodic guitar lines. A very successful start to the album, although the band didn't blow me away like "Blood in Water," for example. The band can play in a more technical and modern style, and the title track reflects this perfectly. One of the more interesting moments is " The Edge of Nowhere." The song begins with an oriental motif, building tension, and then suddenly explodes with a fast thrash attack. It's a very good example of how Flotsam and Jetsam can use classic elements of the genre while simultaneously making them their own. It's not a mindless copy of what the band did in the '80s. " Last Rites" is also one of the album's strongest points. It's fast, heavy, and very specific, yet there's no shortage of melody. This ability to combine aggressive thrash with melody has always distinguished Flotsam and Jetsam from many other bands. The same is true in "A Taste for War " and " Anthem for the Broken," where the band shows a slightly more complex and emotional side. There's also the melodic and more catchy " Her Blood Your Pain, " which has plenty of power metal character. The whole thing culminates in " Not Going Down That Way ." Which smuggles in some heavy metal styling.

Flotsam and Jetsam prove once again that age doesn't have to mean musical stagnation. "Rats in the Temple" is a solid, aggressive, and melodic piece of thrash metal. If anyone was worried that the Americans would slow down after "I Am the Weapon," they can rest assured. There's power, great guitars, AK's distinctive vocals, and above all, a lot of really good songs. It's a bit short of perfection, and some tracks could use a little tweaking, but overall, the album is impressive. It's worth taking blindly, because Flatsam and Jetsam have been in great form for a good few years now.