Send "Sodom " Ringtones to your Cell 
| Popmatters |
 Although Sodom is always spoken in the same breath as Destruction and Kreator as the progenitors of classic 1980s German thrash metal, they’re a decidedly different band than their peers. Destruction and Kreator have soldiered along just as Sodom has, putting out records to this day, but in Sodom’s case, founding member/bassist/vocalist Tom Angelripper has been churning out the new music with such reliability and predictability that it’s more appropriate to compare his band to the likes of Motörhead. You know exactly what every Sodom album is going to sound like going in, and the only thing that matters is whether they’re completely on their game or not. Their last couple albums, 2006’s Sodom and 2007’s The Final Sign of Evil, while workmanlike enough, didn’t exactly measure up to such a high water mark as 1989’s Agent Orange; a bit of a shame considering the renewed interest in classic thrash metal in North America these last four or five years.With their 13th studio full-length comes another shot at proving to everyone that Sodom can still put our relevant music, and remarkably, In War and Pieces does just that. Interestingly, this renewed sense of vitality has been recorded by one Waldemar Sorychta, a producer best known for putting together slickly recorded, goth-tinged metal efforts by the likes of Lacuna Coil and Moonspell. Such a pairing would immediately raise the suspicions of longtime Sodom fans, but Sorychta does the right thing on this record by simply letting the band play. Better yet, In War and Pieces doesn’t try to blow up the band more than it has to. Sure, Bernd Kost’s guitars are layered a little bit, but Sodom still sounds very much like a trio, Angelripper’s bass as prominent as you would hear it live. As good and understated as the production is, it always comes down to the quality of the songwriting, and the 11 tracks on the new album sound very strong, as if benefiting hugely from the long layoff between albums. Unlike the Destructions and Kreators of the thrash world, who really emphasize ultra-tight instrumentation and often intricate riffing, Sodom relies more on groove, and that combined with some excellent dynamic songwriting this time around makes for their best record in at least a few years. The down-tuned title track could even pass for a Black Label Society tune, with all its pinch squeals and Markus Freiwald’s mid-tempo drumming, but as soon as Angelripper enters the fray with his distinct snarl, it becomes a Sodom song instantly, and a very good one at that. “Hellfire” cranks up the tempo to a Slayer-like pace, but again the arrangement is a whole lot looser, letting the central hook lead the way and not worrying as much about how tight the performance is....full text |
| Angrymetalguy |
| Sodom, sweet Sodom, ever so reliable and happily predictable. They’re the thrash equivalent of your favorite concert t-shirt. It’s always there for you, it’s comfortable, beer soaked and you go way way back together. Since 1982 these German metal-meisters have given us thrash and more thrash with very little stylistic variation or experimentation and for most long time fans, that’s just how we want it. After all, Sodom always specialized in simple, brutal and dirty thrash metal with punk influences and they were proud to be a thrash band even when thrash wasn’t “cool” anymore. I never had to waste time worrying if they would start exploring jazz fusion, ambient soundscapes or become self important about the message in their music. No sir, Sodom was just Sodom. Thankfully, the comforting non-progression continues on In War and Pieces, their thirteenth platter and they continue to deliver their battle tested (and themed) thrash lunacy. Staying close to the sound and formula from their eponymous 2007 release, In War and Pieces finds Sodom crafting short and ugly thrash tunes that remain faithful to the NWOGTM they helped create along with Kreator and Destruction, while also modernizing the sound to acknowledge that it’s not 1986 anymore. Before you Angry Metal Legions bust out the pitchforks and torches to ravage the countryside, I don’t mean they sound like Killswitch Engage or Hatebreed! I simply mean they aren’t trying to rewrite In the Sign of Evil and this doesn’t sound like a garbage can being thrown down the stairs production-wise. Worry not, all the usual Sodom staples are here, including ”Onkel” Tom Angelripper’s hoarse snarl and some outstanding thrash riffing from Bernd Kost. In fact, this album may have more guitar wizardry than any previous Sodom album and Kost is given lots of room to flex the fretboard to create plenty of impressive solos and leads. All eleven tracks are between three and five minutes and all hit quick and hard, none overstay their welcome or get tedious and all benefit from a solid production job that brings out the instruments but still sounds plenty raw and rough....full text |
| Metalassaultradio |
| 'In War and Pieces' is the 13th studio release from German Thrash heavy hitters SODOM, and sees a return to the early sound of SODOM. Don't let that statement fool you, this is no throwback album by any means, It blends modern production (without feeling overly produced), with the classic SODOM style. If you want to know what 'In War And Pieces' is all about look no further than the title track and first song that you can hear at this location. It's clean, and it's definitely mean. Angelripper and company are at the top of their game, and this may be the strongest SODOM release since 'Agent Orange'. The album (as stated earlier) kicks things off in full force with the title track 'In War And Pieces'. After a short "intro" 'I.W.& P.' instantly causes an involentary head bob, and the riff sucks you in and spits you out, this is SODOM at their very best, and sure to take it's place among SODOM classics like 'Agent Orange', 'The Saw Is The Law', and 'M-16'. This album keeps pounding you with aggression throughout the first 6 tracks, mixing all out thrash, with some well placed, short, melodic interludes. 'Soul Contraband' would at first appear to be a bit of a break in it's aggressiveness. Starting off a bit slower, and with a bit of a chugging riff, but as the song goes on, Angelripper builds into more and more of an angered tone, so while the pace of the music itself, may be a bit slower than the rest of the album, this might be the 'ugliest' song on the album. Angelripper is one of those vocalist who has the ability to not just scream, yell or get louder, but convey a feeling, or in this case the festering of rage....full text |
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