Review & Live Report by Christian Tallone

Band: TESTAMENT
Album: “Para Bellum”
Release Date: 10th October 2025
Label: Nuclear Blast Records

October 10, 2025 — a date a lot of us were waiting for. Me included. Like a kid on Christmas Eve, I couldn’t wait to get my hands on my copy, and as soon as the clock hit midnight, I was already on YouTube blasting this new album from the Californian giants TESTAMENT, released via NUCLEAR BLAST.

It’s been five years since their last record — back in 2020, when they released the fantastic “Titans of Creation.” Since then, we’ve had to wait through the pandemic, a world tour, and some lineup changes behind the drum kit. So, the question is: was it worth the wait?

This is the band’s fourteenth studio album. Despite some bad luck, countless lineup changes, and the departure of the mighty Gene Hoglan (temporarily replaced live by the equally legendary Dave Lombardo), Testament have never rested on the laurels of their name. On the contrary, they’ve kept evolving — this time also thanks to the arrival of young drummer Chris Dovas, who has infused their forty-year legacy with fresh energy and a more modern approach — something many old-school thrash bands lack today.

As the saying goes, you shouldn’t judge a book by its cover — but once again, Testament have paid great attention to the artwork. The immensely talented Eliran Kantor, now a constant presence, handled the visuals, and Para Bellum’s cover (a prophetic title, given the state of the world) depicts a nuclear explosion and five men — presumably the band members — digging graves.

The album starts with no epic intro — just a drum roll that immediately tells you that what’s atomic here isn’t just the cover art.

“FOR THE LOVE OF PAIN” – 5 minutes and 30 seconds of pure fury. The song races like a train: tight rhythms, precise blast beats, and blackened guitar tones that plunge us into icy atmospheres before crushing us under classic American-style breakdowns. Chris is a hammer, and Steve Di Giorgio, with his fretless bass, complements him perfectly. His death-metal touch finds a perfect home here. Chuck sounds like a man in his twenties — his deep, cavernous growl paired with Eric Peterson’s screams delivers pure violence. Peterson’s rhythm guitar is razor-sharp, intertwining flawlessly with Alex Skolnick, who momentarily holds back his usual soloing flair on this opening track.

Before we can recover, we’re hit by “INFANTICIDE A.I.”, the first single released. Here Skolnick goes all out, holding nothing back. It’s a shorter track (3:25), but continues in the same vein — technical, furious, relentless from start to finish.

Then comes “SHADOW PEOPLE,” the second single. We return to a more familiar sound: a tribal drum intro, heavy mid-tempo riffs — this might be a breather for mosh pits live, but not for headbangers. After 2½ minutes, it explodes again with tempo changes and trademark Testament riffing. The highlight, though, is the chorus — Chuck’s voice gets stuck in your head and won’t let go through its full 5:46 runtime.

With “MEANT TO BE,” we get an unexpected surprise. Judging by the earlier songs, nobody saw a ballad coming — especially not as the fourth track (usually, those come in the album’s second half). Peterson’s acoustic guitar is vibrant beneath Alex’s melodic phrases, soon joined by Chris and Steve. The song features beautiful string arrangements by jazz musician Dave Eggar, who’s collaborated with Bon Jovi, Evanescence, The Who, and Cher, among others. The orchestral parts aren’t overwhelming — they add atmosphere and emotional depth.

Chuck astonishes once again with clean vocals — exceptional in the verses, slightly raspier in the chorus — showing great versatility. Personally, I love his clean tone and wish he’d use it more often. Meant to Be (the album’s longest track at 7:30) is one of my personal favorites.

Fifth track, “HIGH NOON, DEATH SOON,” kicks off with a roar reminiscent of Low or Demonic, backed by the sound of a rifle being loaded. Under pounding double bass drums, it tells stories of gunfights, saloon brawls, and death. The sound recalls the Gathering era — direct and powerful — much like the following track, “WITCH HUNT.” That one leans more toward death metal than thrash: tight rhythms, low-tuned guitars, and crushing brutality similar to “Stronghold” from Brotherhood of the Snake. Midway through, it opens up into more classic heavy metal territory, with intertwining solos — perhaps the most powerful track of this fourteenth chapter.

We near the end with “NATURE OF THE BEAST,” the seventh track — much more classic-sounding. Compared to the earlier songs, it almost feels like a different band. The sound recalls Souls of Black, with more heavy-metal-oriented rhythms and a more melodic Chuck Billy. The lyrics even feel like a tribute to Motörhead.

Next up is “ROOM 117,” built on solid, monolithic riffs with syncopated sections. Here Di Giorgio and Dovas shine, especially in the second half — 4 minutes and 20 seconds of pure spectacle.

Penultimate song: “HAVANA SYNDROME.” The title refers to the mysterious neurological symptoms — headaches, dizziness, nausea — that affected U.S. government personnel. The lyrics make direct reference to that, delivering pure thrash metal. Dovas’s ride cymbal is crisp, the picking ferocious, and the fast verses give way to open, breathing choruses. It’s another track that sticks in your head, with Skolnick once again proving he’s one of the best guitarists out there.

Finally, the title track “PARA BELLUM” closes the curtain — a six-and-a-half-minute onslaught that’s pure headbanging warfare. It contains every shade of Testament: death-metal bursts, double-bass assaults, mid-tempo grooves, blackened touches from the earlier songs — and a chorus that truly makes you want to prepare for war. A perfect live anthem, ending with an arpeggiated calm — the quiet after the storm, the ruins left by this atomic explosion.

CONCLUSION

What can we say about Para Bellum?

Ten tracks that encapsulate every facet of Testament’s sound across 50 minutes — tight, dynamic, and never dull. Overall, a strong album — 8/10. Expertly produced and performed. After all, the Oakland quintet has always been made up of thoroughbreds; there’s not a weak link here.

I call it a “good album” without overhyping it, because we’re talking about a band that, over 40 years of career, has already delivered true masterpieces — from The Legacy to The Gathering.

Testament have nothing left to prove — and they know it.

Special praise must go to Chris Dovas (born 1998) — despite being less than half the age of some of his bandmates, and carrying the heavy legacy of those who sat on that drum stool before him, he has not only proven phenomenal both live and on record, but also brought something new where it seemed nothing was left to add. He even contributed to the songwriting beyond just his drum parts — impressive indeed.

LIVE REPORT – 18th October 2025 at Live Club, Milan

I didn’t miss the chance to see them live — exactly eight days after the release of Para Bellum, on October 18, at the Live Club in Trezzo, with NERVOSA, DESTRUCTION, and OBITUARY for the epic “Thrash of the Titans.”

Chuck and the gang opened with the crushing “D.N.R. (Do Not Resuscitate)”, followed by “WWIII” and “Practice What You Preach.” The stage setup was great — including a huge inflatable figure reminiscent of Maiden’s 90s shows. Some might find it kitschy, but I absolutely love that stuff!

The guys — and I say “guys” because if we didn’t know their actual ages, that’s exactly what they look like — were in top form. They delivered a 15-song set, testing the new album live with the blazing “Infanticide A.I.” and the crushing “Shadow People.” They spanned their entire career, from Native Blood to Low, closing (as tradition demands) with “Electric Crown” and “Into the Pit.”

A lovely surprise: two ballads in the set — the classic “Return to Serenity” and the lesser-known but beautiful “Trail of Tears.”

A flawless performance in every aspect — sound, stage, musicianship — and Dovas once again proved his worth with an outstanding solo.

If there was one downside, it was the venue — nothing against the Live Club in Trezzo (it’s actually one of my favorite places), but perhaps it wasn’t quite big enough for an event of this magnitude, given it sold out — like many other tour dates — a month in advance.

Too bad for those who couldn’t get a ticket — they missed an unforgettable night. But I’m sure we’ll see them again this summer, stronger than ever!

Until then, let’s enjoy this latest work — before we all meet again INTO THE PIT!

Setlist:
D.N.R ( Do Not Resuscitate)
WWIII
Pratica What You Preach
Sins of Omissio
Native Blood
Trail of Tears
Low
More Than Meets the Eye
Drum solo
First Strike Is Deadly
Infanticide A.I
Shadow People
Return to Serenità
Electric Crown
Into the Pit