With its electronic inflections, “Necroshine” at first seems like it'll turn into an industrial attack. Instead, it becomes a Slayer-like thunderstorm that pauses only to let singer Bobby Ellsworth unleash an opening salvo that echoes the origins of rock 'n' roll: “You can take me out of my hell/You can't shake the hell on out of me.” The remainder of Necroshine proceeds to shake the hell out of its listeners. Even as the group uncovers new ways to intensify its material, it shows a knack for catchy song structures. “80 Cycles,” “Black Line," and “Revelation” aren’t pop songs by any means, but they nonetheless use more than heavy riffs to grab hold of the listener. Even though it epitomizes the old-school values of the original wave of thrash, Overkill sounds thoroughly modern on “Forked Tongue Kiss,” “Let Us Pray," and “Stone Cold Jesus,” in which thrash's blitzkrieg attack gives way to more bluesy, groovy forms of heavy riffing. As if to reaffirm Overkill's roots, Necroshine ends with “Dead Man”: a double-time stomper that becomes a vehicle for one of Ellsworth’s most vibrant vocal performances.