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Killbox 13
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| Killbox 13 | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | March 25, 2003 | |||
| Recorded | September–October 2002 | |||
| Studio | Gear Recording Studio, Shrewsbury, New Jersey | |||
| Genre | Thrash metal | |||
| Length | 50:22 | |||
| Label | Spitfire | |||
| Producer | Colin Richardson, Overkill | |||
| Overkill chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
Killbox 13 is the twelfth studio album by thrash metal band Overkill, released in 2003. It is the first album with rhythm guitarist Derek Tailer. The name stems from the fact that the band considers this to be their thirteenth release because they include the Overkill EP as their first, or that they had released the covers album Coverkill, which would have been their eleventh studio album. "Well, it is the thirteenth, but it's only really the thirteenth for people who followed the band. There was an EP called Overkill back in '84...", said Bobby Ellsworth.[citation needed]
Killbox 13 received much critical acclaim because some of the songs marked a return to the raw unpolished thrash style exhibited on the first album Feel The Fire, which Overkill had gradually moved away from afterwards.
Track listing
[edit]All music is composed by D.D. Verni and Bobby 'Blitz' Ellsworth.
| No. | Title | Length |
|---|---|---|
| 1. | "Devil by the Tail" | 5:24 |
| 2. | "Damned" | 4:13 |
| 3. | "No Lights" | 5:52 |
| 4. | "The One" | 4:58 |
| 5. | "Crystal Clear" | 5:03 |
| 6. | "The Sound of Dying" | 4:56 |
| 7. | "Until I Die" | 5:20 |
| 8. | "Struck Down" | 4:42 |
| 9. | "Unholy" | 4:40 |
| 10. | "I Rise" | 5:08 |
| Total length: | 50:22 | |
Credits
[edit]- Bobby "Blitz" Ellsworth – lead vocals
- D.D. Verni – bass, backing vocals
- Dave Linsk – lead guitar
- Derek Tailer – rhythm guitar
- Tim Mallare – drums
Production
[edit]- Produced by Colin Richardson and Overkill
Charts
[edit]| Chart (2003) | Peak position |
|---|---|
| US Top Independent Albums[2] | 31 |
References
[edit]- ^ Serba, John. Killbox 13 at AllMusic
- ^ "Killbox 13 - Overkill : Awards". AllMusic. March 25, 2003. Retrieved June 26, 2013.
External links
[edit]
 | This 2000s thrash metal album–related article is a stub. You can help Wikipedia by adding missing information. |
Killbox 13
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Background
Lineup changes
Killbox 13 marked Overkill's 13th overall release, encompassing their self-titled 1984 EP and the 1999 covers album Coverkill in the tally, a numbering the band explicitly adopted for the title to reflect their extensive catalog up to that point.[8] The album introduced rhythm guitarist Derek "The Skull" Tailer as a full member, representing his recording debut on a studio album after he joined the band in 2001 to fill the guitar slot vacated by prior members, including Joe Comeau after the 2000 tour featured on the live album Wrecking Everything (released 2002).[9][10] Following the release of Necroshine in 1999, Overkill maintained significant lineup stability, retaining core members vocalist Bobby "Blitz" Ellsworth (since 1980), bassist D.D. Verni (since 1980), lead guitarist Dave Linsk (since 1999), and drummer Tim Mallare (since 1992).[2][11][12] This period of consistency came amid a four-year interval from Necroshine, during which the band signed with Metal Blade Records for Bloodletting (2000) before securing a deal with Spitfire Records, which facilitated the production of Killbox 13.[2][13]Songwriting process
The songwriting for Killbox 13 was primarily credited to bassist D.D. Verni and vocalist Bobby "Blitz" Ellsworth, who handled composition for all 10 tracks on the album.[14] This collaboration underscored their enduring partnership, which dates back to Overkill's formation in 1980 as a core creative force driving the band's output over two decades.[15] The inclusion of new rhythm guitarist Derek Tailer in the lineup influenced the development of more groove-oriented riffs, blending them with classic thrash metal elements reminiscent of Overkill's early work on albums like Feel the Fire (1985).[1] These riffs emphasized a sledgehammer-like groove signature often associated with Verni's bass-driven contributions, evolving naturally during the writing phase to prioritize hooks over relentless speed.[14][16] Pre-production took place in 2001–2002, as the band sought to recapture a raw, aggressive sound following the more experimental direction of Necroshine (1999).[17] This period focused on reinventing past stylistic elements from Overkill's catalog, such as the hook-laden approach of the Taking Over era, while avoiding trend-chasing to maintain the band's established identity.[14] The album's title drew inspiration from military terminology, where a "killbox" refers to a three-dimensional target area designated for coordinated strikes, evoking themes of precision aggression that aligned with the record's intense lyrical and sonic content.[18]Production
Recording sessions
The recording sessions for Killbox 13 occurred from September to October 2002 at Gear Recording Studio in Shrewsbury, New Jersey.[1] This location was selected due to its close proximity to Overkill's longtime base in East Brunswick, New Jersey, facilitating easier access for the band members during the intensive tracking period. The studio's setup allowed for efficient daily sessions, enabling the group to capture the album's core performances in a focused environment. The sessions followed a structured timeline, beginning with initial tracking of drums and bass in early September to establish the rhythmic foundation, before progressing to guitars and vocals throughout the remainder of the month and into October. This sequencing permitted iterative adjustments, with the band refining arrangements on the fly as layers were added. Guitarist Dave Linsk noted that the production schedule provided more time for tracking compared to prior albums, allowing for additional guitar parts, melodies, harmonies, and layering to enhance the songs' breadth.[19] A key aspect of the sessions involved integrating new rhythm guitarist Derek "The Skull" Tailer, whose addition alleviated pressure on lead guitarist Dave Linsk and restored Overkill's classic dual-guitar dynamic. Tailer's rhythm work meshed with Linsk's leads to create a fuller, more aggressive attack, with Linsk gaining creative freedom to incorporate influences from the band's early era, such as intricate overdubs. The band emphasized live playing during tracking to preserve raw energy, under producer Colin Richardson's guidance to balance the guitar-drum interplay, though the core capture focused on authentic performances before any post-production refinements.[20] Linsk utilized a Randall amplifier head and a Langner-modified Marshall head through a 4x12 cabinet loaded with 75-watt Celestions to achieve the desired tone.[19]Mixing and production team
The production of Killbox 13 was led by co-producers Overkill and Colin Richardson, with Richardson additionally handling mixing and engineering duties. This collaboration built on Richardson's prior involvement with the band, including mixing on From the Underground and Below (1997) and mixing on Bloodletting (2000), allowing him to interpret and refine Overkill's raw performances into a cohesive thrash metal sound.[21][20] Richardson, a veteran producer known for his work with thrash and extreme metal bands such as Carcass on their seminal album Heartwork (1993), was selected to elevate the project's sonic depth beyond the band's typical self-production approach.[22] Following the initial recording at Gear Recording Studio in Shrewsbury, New Jersey, during September and October 2002, mixing took place at Sonalyst Studios in Waterford, Connecticut, where Richardson emphasized the tight integration of guitar layers and drum elements to achieve a powerful, aggressive tone.[23][20] Mastering was completed by Roger Lian at Masterdisk in New York City, optimizing the album's 50:22 runtime for broad dynamic range and clarity suited to early 2000s metal reproduction formats like CD.[24]Musical content
Genre and style
Killbox 13 is firmly rooted in thrash metal, incorporating groove metal influences through mid-tempo riffs and breakdowns that blend the band's 1980s origins with the clearer production values typical of early 2000s metal albums.[4][25] The album's sound evokes Overkill's classic aggression while adopting a polished mix that emphasizes massive guitar and drum presence, distinguishing it from the rawer edges of their earlier work.[25] This evolution positions Killbox 13 as a bridge in thrash metal's development, maintaining high-speed ferocity alongside accessible, headbanging grooves.[7] Stylistically, the album features fast-paced tracks such as "Devil by the Tail" (5:24), which delivers aggressive solos, tempo shifts, and a thrash breakdown, contrasted by more atmospheric pieces like "No Lights," starting with a slow, gloomy intro before accelerating into a melodic chorus and another breakdown.[26][27] These elements highlight the album's dynamic range, with infectious start-stop riffs and melodic highs and lows enhancing the overall thrash-groove hybrid.[27] The dual-guitar interplay between lead guitarist Dave Linsk and rhythm guitarist Derek Tailer—marking Tailer's debut with the band—drives the album's chugging rhythms and harmonized leads, hallmarks of the New Jersey thrash scene. Linsk's fierce solos and Tailer's supportive riffing create a tight, energetic foundation reminiscent of Overkill's 1980s sound.[27] Compared to earlier releases, Killbox 13 recaptures the raw energy of Horrorscope (1991) through its thrashy intensity, while integrating modern groove elements akin to Pantera's style in tracks like "Crystal Clear."[27][25]Lyrics and themes
The lyrics of Killbox 13 center on themes of aggression, damnation, and resilience, reflecting personal and existential turmoil amid forceful confrontations. In "Damned," vocalist Bobby "Blitz" Ellsworth explores personal struggle through imagery of entrapment and moral ambiguity, with lines like "Damned if I do and damned if I don't / Damned if I will and damned if I won't" capturing the frustration of inescapable choices and the search for inner strength.[28][29] Similarly, "Until I Die" confronts mortality head-on, evoking the inevitability of death through verses depicting a "dope, black suicide" and a life flashing by in a "blackest night," while the chorus emphasizes a paralyzing yet enduring "force inside me."[30][29] Ellsworth's signature raspy, shouted vocals amplify these motifs of war and inner conflict, delivering lines with raw urgency that underscores psychological battles and external aggression.[27] This vocal style ties into the album's military-inspired imagery, drawing from the "killbox" concept—a three-dimensional target area in military operations for coordinated attacks—which evokes contained chaos and targeted destruction without explicit political overtones.[31] Tracks like "The Sound of Dying" reinforce this through references to lingering aftermaths of battle, where "the war is over, the battle is done / But the sound of dying, the dying goes on."[29] Many songs employ structures that escalate from straightforward verse-chorus progressions to explosive bridges and breakdowns, heightening the emotional and thematic intensity; for example, "Struck Down" builds tension through rhythmic shifts that mirror themes of downfall and recovery.[27] The album's overall narrative arc traces a progression from aggressive, confrontational openings in tracks like "Devil by the Tail"—which rails against deception and pursuit—to resilient, defiant conclusions in "I Rise," where lyrics affirm perseverance with "I rise, I rise above."[29] This arc portrays a journey through damnation toward unyielding endurance, supported by the musical backing's emphasis on vocal dynamics.[27]Release and promotion
Commercial release
Killbox 13 was released on March 25, 2003, by Spitfire Records in CD format.[1] It marked Overkill's first studio album with the label following a period of instability, including prior releases on CMC International for albums like Necroshine (1999). Digital reissues appeared later, including on streaming platforms such as Bandcamp and Apple Music.[6][32] Regional variations included editions tailored for markets like Europe, Japan, and Brazil, some featuring unique packaging or represses, though standard track listings remained consistent.[5] The album's total runtime is 50:22.[6]Marketing and touring
The promotional efforts for Killbox 13 centered on positioning the album as a revitalized effort within the thrash metal genre. Spitfire Records supported the release through industry channels. In support of the album, Overkill conducted a headlining tour across the United States and Europe from 2003 to 2004, featuring 44 shows in the first year alone. The U.S. leg included dates with labelmates Exhorder and Heathen, while European stops encompassed festival appearances such as Bang Your Head in Balingen, Germany. Setlists typically blended new material from Killbox 13, including tracks like "Crystal Clear" and "I Rise," with longstanding classics such as "Elimination" and "Wrecking Crew" to engage longtime audiences.[33][34][35] No traditional singles were commercially released from the album, though its integration into the band's live repertoire helped sustain momentum in the underground metal circuit. Collaborations with Spitfire's roster, including shared billing with Exhorder and Heathen, enhanced visibility by aligning Overkill with fellow thrash acts in a scene increasingly focused on independent labels.[33]Reception
Critical reception
Upon its release, Killbox 13 received generally positive reviews from critics, who praised its return to the band's raw thrash metal roots reminiscent of their debut album Feel the Fire. AllMusic's John Serba highlighted the album's stellar riffs and rock-solid arrangements, crediting producer Colin Richardson for a thick, beefy sound that enhanced Overkill's groove-oriented approach, though he noted the second half was less immediate than the strong opening tracks.[17] The review awarded it 4 out of 5 stars, emphasizing its consistency and appeal to dedicated fans despite occasional predictability in the song structures.[17] User reception on Encyclopaedia Metallum echoed this sentiment, with an average score of 76% from 12 reviews, lauding the infectious groove riffs—particularly on tracks like "Devil by the Tail" and "Unholy"—and the polished production that balanced mid-tempo heaviness with thrash energy.[1] Many users ranked it among Overkill's top albums, comparable to Horrorscope for its riff-driven intensity and refusal to chase trends.[1] Reviews from outlets like In Music We Trust spotlighted Colin Richardson's mixing as a standout element, describing it as crisp and powerful, which elevated the album to one of Overkill's strongest efforts in the 2000s.[36] A common critique across sources was that while solid and reliable, the record lacked bold innovation, serving primarily as a comforting return to form for longtime fans amid the post-nu metal landscape rather than pushing boundaries.[17][1]Commercial performance
Killbox 13 achieved moderate commercial success within the thrash metal genre, peaking at number 31 on the Billboard Top Independent Albums chart in 2003, which underscored its solid performance among niche audiences in the metal market.[37] The album's overall sales were modest, largely sustained by the band's loyal fanbase rather than achieving significant mainstream crossover appeal. This performance highlighted Overkill's enduring cult following during their independent label era on Spitfire Records. Killbox 13 demonstrated long-tail viability through subsequent reissues, including a 2015 edition by Nuclear Blast Records that helped preserve its catalog value for longtime supporters.[32] In comparison to prior releases, the album outperformed Necroshine (1999) on independent charts but fell short of the higher peaks attained by Overkill's 1990s efforts on major labels like Atlantic.Content details
Track listing
All tracks on Killbox 13 are original compositions written by D.D. Verni and Bobby Ellsworth.[5] The album's original edition contains no bonus tracks, though some later reissues bundle it with live recordings from Overkill's Wrecking Everything album.[38] The total runtime is 50:22.[7]| No. | Title | Writers | Duration |
|---|---|---|---|
| 1 | "Devil by the Tail" | (Verni, Ellsworth) | 5:24 |
| 2 | "Damned" | (Verni, Ellsworth) | 4:13 |
| 3 | "No Lights" | (Verni, Ellsworth) | 5:52 |
| 4 | "The One" | (Verni, Ellsworth) | 4:58 |
| 5 | "Crystal Clear" | (Verni, Ellsworth) | 5:03 |
| 6 | "The Sound of Dying" | (Verni, Ellsworth) | 4:56 |
| 7 | "Until I Die" | (Verni, Ellsworth) | 5:20 |
| 8 | "Struck Down" | (Verni, Ellsworth) | 4:42 |
| 9 | "Unholy" | (Verni, Ellsworth) | 4:40 |
| 10 | "I Rise" | (Verni, Ellsworth) | 5:08 |