Overkill – Horrorscope

Solid Overkill album, but NOT their best, as often touted.

Released in 1991, HORRORSCOPE is Overkill’s fifth album of eighteen (as of this writing). It was the band’s first release after the departure of longtime guitarist/songwriter Bobby Gustafson, who was replaced by guitar duo, Merritt Gant and Rob Cannavino, the latter being Gustafson’s former guitar tech. It was also the first album to be solely composed by bassist DD Verni and vocalist Bobby "Blitz" Ellsworth. Blitz has said that it’s a special album to him for this reason.

HORRORSCOPE was well-received by Overkill fans and is typically heralded as the band’s best effort just when grunge was taking the crown from 80’s metal. While it’s a competent early 90’s thrash release and arguably rivals their best albums of the 80s, I personally don’t view HORRORSCOPE as their best release. But it IS notable in that it started an important new chapter for the band, proving that they could easily carry on without Gustafson. Moreover, it paved the way for their best output yet – their great mid-90’s period: After the release of the experimental I HEAR BLACK (1993) and the capable W.F.O. (1994), which featured the best anthem ever, “Bastard Nation,” Overkill knocked it out of the ballpark with THE KILLING KIND (1996) and FROM THE UNDERGROUND AND BELOW (1997).

Getting back to HORRORSCOPE, it kicks off with the driving “Coma” followed by the formidable “Infectious” with its groovin’ ‘Hey, hey, hey’ post-chorus (or whatever) and the speed-galloping “Blood Money.” The heavy & doomy title track is another standout with its eerily stunning prologue, followed by the catchy “New Machine,” which is both conventional metal and somehow odd. Then there’s a smokin’ metal cover of Edgar Winter’s “Frankenstein,” eventually closing with the melancholy ballad “Soulitude.”

GRADE: B