Released: March 22, 1987
Among the Living doesn’t behave like a breakthrough framed for history. It feels more like a record built for proximity—fast, loud, and designed to keep everything within arm’s reach. There’s an immediacy to how it moves, but it isn’t chaotic. The album operates on momentum that’s already understood, trusting speed and repetition to carry it without explanation.
The opening run establishes that trust quickly. Riffs are sharp and kinetic, drums push forward with urgency, and the songs lock into motion almost instantly. There’s little sense of buildup or atmosphere being constructed. Among the Living assumes engagement from the first seconds and never backs off that assumption.
What separates the album from pure velocity is its sense of control. The rhythms snap tightly into place, and the riffs repeat with purpose rather than excess. Even at its fastest, the record feels organized. Songs don’t blur together because each one maintains a clear internal shape, built around groove as much as speed.
Tracks like “Caught in a Mosh” highlight that balance. The energy is undeniable, but it’s guided. The movement feels physical rather than abstract—music meant to be felt in the body, not decoded. The humor and attitude are present, but they’re secondary to how efficiently the song moves.
“Among the Living” and “Indians” reinforce the album’s sense of direction without widening the frame. These songs don’t act as pivots or statements. They function as extensions, pushing the same ideas forward with slightly different emphasis. The album doesn’t escalate so much as sustain, letting familiarity build impact.
Midway through, the record shows how disciplined it actually is. Even when tempos shift or riffs become more intricate, the album never loses its footing. The aggression remains clear and forward-facing. There’s no indulgence, no unnecessary expansion. Everything serves motion.
Later tracks like “I Am the Law” and “A Skeleton in the Closet” maintain that focus. The riffs are bold, the pacing relentless, but the structures remain intact. The album resists the urge to sprawl, keeping its songs compact and functional. Memory forms here through repetition—the way these tracks reassert themselves rather than surprise.
Production across Among the Living is raw but effective. Guitars cut sharply, drums hit hard without washing out detail, and vocals stay embedded in the mix rather than towering above it. The sound isn’t polished toward refinement. It’s tuned for impact and clarity under speed.
What gives Among the Living its lasting presence is how confidently it commits to its lane. It doesn’t reach for atmosphere, complexity, or contrast beyond what’s necessary. The album understands exactly what it’s built to do and does it without hesitation.
When it ends, it doesn’t slow down or look back. It simply stops. That abruptness feels consistent with everything that came before. Among the Living holds because it never steps outside its momentum, letting precision and velocity define its shape from start to finish.
Written by Rob Joncas for DeadNoteMedia.
Artist information and music courtesy of the band.
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