Review by Felix on November 21, 2019.

From my point of view, it took 12 years (from 2001 to 2013) until Sodom were back on track. M-16 marked their final explosion for a long time, because two studio albums with new songs did not meet the expectations in terms of fury, quality and energy. The Final Sign of Evil wanted to reanimate the spirit of the early days, but it was also ambivalent, because a journey through time and space is always extremely difficult (especially when collaborating with a drummer who is suffering from alcoholism). But Epitome of Torture made clear that Sodom had regained its strengths and the overwhelming opener of Decision Day is another track that makes us forget this weak period of the band. A sinister line introduces the monumental "In Retribution" nearly cautiously, but the inferno breaks loose as soon as the veterans pick up speed. Straight leads, competent hammering and the well-known, mean and roughshod nagging of Angelripper lead to an apocalyptic, threatening chorus. Welcome to Decision Day - its trite cover leaves room for optimization, but the first track is free from any disturbing details.

The opener shows sustainably that Sodom have not become a more or less soulless accumulation of musicians. Do not confuse them with Kreator! Sodom's harshness still sounds honest and authentic, Tom Angelripper still looks pretty filthy and blatantly simple choruses ("Satan is real! Satan is real!" - I still wait for "Mille can't sing! Mille can't sing!") do not show up. The same applies for overly emotional sections. A few calm parts do not characterize the album which relies on generic, coherently constructed thrash. Of course, the material is more melodic and less black than that of Obsessed by Cruelty, but to believe that it can be described as melodic in objective terms would be a little bit stupid. Jagged riffs alternate with pretty well flowing leads. In addition, the breaks and tempo changes are seamlessly integrated in the overall design of the respective track. Seems as if Angelripper's wide experience prevents odd song patterns. Better still, he also knows to offer catchy choruses ("Caligula") that do not suffer from any kind of commercial ingredients. Background choirs are helpful in this context. The simple "aaaaahhh" of "Who Is God?" gives this track an additional flavor which is the icing on the cake of this riff-driven speed rocket. By the way, although I guess you are already aware of this fact, Sodom's composition does not focus on simplicity. The degree of variety is more or less perfect - it gives boredom no chance without overstraining the audience.

Sodom still like rapid rhythms, but they also manage the challenge to create mid-fast monsters with well hung riffs. "Strange Lost World" almost appears as an enemy to the dominating high velocity eruptions. This does not mean that it is a foreign body on Decision Day, but it spreads very different vibes in comparison with the other tracks of the album's first half. Anyway, the level of heaviness as well as the average velocity have not significantly changed in comparison to its predecessor. Sodom did not record "Epitome of Torture Part II", but there are no noteworthy modifications in terms of style. Moreover, Bernemann's solos still make sense. Some guitar heroes just create a noisy ego-trip, but this old warhorse does not give a f**k about narcissism. His solo excursions are well embedded in the songs. Incidentally, we are speaking about excellently produced songs. In technical terms, Sodom's 15th studio full-length flexes its muscles. Powerful, transparent, sinister and rigorous, these attributes describe an album whose mix does not lack depth. A comparatively multi-layered song like "Belligerence" reflects the advantages of the production most quickly.

Even though the best and most spectacular part of the album is already finished after 6:14 minutes, the remaining material is full of highlights and only a few tracks such as "Sacred Warpath" do not completely live up to expectations. Yet I don't want to get lost in details. In general, Sodom's evolution is absolutely exciting; once deemed as a bunch of miserable anti-musicians, they are now the spearhead of the so-called big four of German thrash. Honestly speaking, they are the only band of this aging quartet whose new works still add value to their luxuriant back catalogue. This does not mean that Angelripper's triumvirate is entirely immune against rather lackluster outputs, but Decision Day is definitely an awesome record. Let's go on for the next 15 albums.

Rating: 8.5 out of 10

Review by Jack on September 25, 2001.

Average to good-ish introduction to a small section of bands on Century Media Records. Most of the stuff on this record is really typical metal, not much stands out here at all.

What “Identity 6” must be applauded for is the absolutely mammoth variety of metal introduced on this CD. Everything from nu-metal, Stuck Mojo and Skinlab, to black metal, Old Man’s Child, to melodic death in Soilwork, avant-garde dark metal in Tiamat and Samael, power metal in Jag Panzer, thrash metal through Winters Bane, grunge metal in Sentenced and straight up death through Brazilian super group Krisiun. That should give you some sort of an introduction to what sort of metal you will find on “Identity 6”, everything and anything.

It is a pity the track selection on these bands is so poor, barring a few exceptions. I am going to run through each band and their track and give a one word description which will save time and me going through my endless ramblings about not so good bands and good bands.

Stuck Mojo’s ‘Hatebreed’: Boring and boring.
Skinlab ‘Second Skin’: initially good, but wears thin after a while.
Moonspell ‘Lustmord’: If this was the average track on this record it would get an eight.
Sentenced ‘No More Beating as One’: These guys just want to live in Seattle; uninspiring.
Shadows Fall ‘The First Noble Truth’: Good stuff, one of the ‘better’ tracks on “Identity 6”.
Krisiun ‘Soul Devourer’: I can appreciate death metal, despite not being a death metal addict.
Dark Tranquility ‘Doberman’: Quality track from a quality metal act.
Jag Panzer ‘King at a Price’: Comes across as too overblown and pretentious for their own good.
Samael ‘Supra Karma’: Best track by a mile, find Samael’s music and worship it.
Tiamat ‘For Her Pleasure’: See above. 3rd best track on the album.
Soilwork ‘The Chainheart Machine’: Again, an awesome track, Soilwork is fucking pro choice.
Winters Bane ‘Heart of a Killer’: Ho-hum, and Winters Bane have better tracks than this rubbish.
Mental Home ‘Eternal Moan’: Ugly, and crap. No plus’ can be found here.
Merauder ‘Find My Way’: Metal-core from NYC, not too bad.
Arch Enemy ‘Pilgrim’: Hey another good track! Death from Sweden too.
Old Man’s Child ‘Obscure Divine Manifestation’: More my scene, good synthetic black.
Angel Dust ‘Black Rain’: Reasonable metal, with nice guitar work.
Eyehategod ‘Story of the Eye’: Poor track to finish “Identity 6” with, leaves an empty feeling.

And thus we have “Identity 6”, a really average album. The unholy trinity of Samael, Tiamat and Soilwork falsely guide the consumer to think “Hey, I’ve caught a good release in “Identity 6” then rips their excitement away through the rest of the album. Disappointing really. Oh well it was only $10 Australian.

Bottom Line: “Identity 6” is a ho-hum release from Century Media Records, surely there is some better material out there, there are exceptions however, those being Samael, Tiamat, Soilwork and a few others.

Rating: 5.5 out of 10