In the latest of reissue revelations comes STEEL REIGN's "Change to Insane," a remake of the Long Island band's 1995 album. In the vein of TESTAMENT, SACRED REICH, and the mighty METALLICA, but criminally unknown despite the band's having opened for some of those very bands, this is an album that, while somewhat derivative, demands hearing.

The opener, "Cease to Exist" is crunchy, lovely '90s thrash, wonderfully melodic and mixed impeccably – it's separated, defined, and crisp. The second verse picks up speed almost imperceptibly, the solo section is a simple melody but succinctly played. Tommy's drumming is superb, and the track's heavy chug is mechanical in its precision. Rob's vocals are equally simple with no affectation. He has a supple tenor that holds its own against the band's unforgiving drive. The story here is someone who wasted a lot of potential, someone whose "talent is unlimited," who could have been so "prosperous and vigorous," but who somehow got off track. It's not clear how that happened – drugs, mental illness, or both – but the narrator is cutting off this toxic person from his life ("The time has come for you to be dismissed," he says).

"Inevitable Death" shows off more of that pristine mix – you can hear Pat's actual fingers on the bass strings. The guitar lead-in to the chorus is lush, and when it separates a little in the melody to a dual part, it's wonderful. The solos are terrific, as is Pat's persistent bass, and Tommy's cymbal work is crystalline and silvery-sounding. This is obviously an urging to not forget the difference between right and wrong ("Don't let evil/Come and take your hand").

"Truth About Dying" pairs a soaring treble guitar melody with a low crunch before kicking into a rugged swing. The chorus is brief and almost nondescript, like it doesn't break the train of thought of the verses. As the title indicates, this a pretty damn thoughtful musing about what happens when we leave this plane of existence – do we go to "heaven" or do we become worm food? The best line is "Could this be the way it really is?/Something better than I thought/Life after death or do we even die/Just left a world to come to another." It absolutely tells a story of this hypothetical journey, with a defined beginning, middle, and end, and the slamming of the coffin lid at the last is starkly final.

You could call the title track – the longest song at 7 minutes – their "Nothing Else Matters." Starting with a warm, throbbing acoustic part, it leads into a guitar solo with a vibrant melody. Rob sounds a bit like James in a ballad, no doubt. The chorus picks up a bit in tempo, then returns to that liquidy slow burn. We go then into a very MAIDEN bridge, with a galloping tempo and uplifting chiming riff that's kicked in the butt by the punchy bass. The solo portion is long, but you never lose interest – who doesn't love a guitar part you can hum along to? This seems to be about someone who has become a different person by whatever cause, who is warning another to get away ("I wish you never came here/And seen me like this/Now the time has come/To save yourself").

Big, beefy, and slamming, "Deadly Hypnosis" is REALLY reminiscent of METALLICA – Rob's vocal is nearly identical to James at his "YEAH!" best – but they do it really well. Its subtle rhythm changes are notable, and the bridge is layered and compelling before it whips into a wicked, neck-snapping groove. Rob's nearly-rapped vocal builds and builds until it's finally capped off by his piercing shriek. Two tracks bear the hallmarks of ARMORED SAINT in the "Revelation" era. "Invisible Force" has layered harmony guitars and a pulsating chug. The bridge slows and gets all sludgy, the bass resonating like a pulse beat beneath. Rob snarls much like John Bush in this commentary on the inevitability of nature – in this case, a hurricane.

And "Into The Fog" kicks off with a slow rolling 6/8 groove, one wave lifting and breaking atop the other, before the main chug gets under way, a tactic they repeat after the bridge/solo section. Rob's voice is buried and effected a little, and the chorus is catchy and insistent with plenty of percussive punch. "Mortuary Delight" boasts a smart, lively tempo, not just from the guitars but from Tommy's seriously in-the-pocket drumming and Pat's pummelling bass (unlike the METALLICA of this period, STEEL REIGN is perfectly happy to put bass in a prominent spot). Rob's voice goes from upper register to a lower one that drives home the point – call this a post-homicide musing from a killer to his victim ("How does it feel to be alone/You're in the dark, a lonely place/Is there a light for you to see/Is heaven waiting for you and me").

"Circle In The Field" is all minor key and mysterious, with a slow stomp and more of that stellar guitar harmony, Rob's voice is up front again, and the section leading into the chorus is all focused on one channel, which is a cool touch. Is this the tale of a meteor landing or a UFO? It's nicely ambiguous, never exactly settling on one or the other. The wrap up, "Death Con 5," has a choppy syncopated groove and tasty guitar harmony before it quiets way, way down with more harmonics and a major bass line (a very METALLICA touch). The bass then leads the way into the next section, the drums building in volume and intensity, before everything goes back to the beginning and repeats the first verse. This one warns that we're on the verge of nuclear war – sad that some things never change, even 25 years later ("Star wars, Russia," and "Power, money, all the rich will survive," Rob sings).

OK so STEEL REIGN may have sounded a bit like their peers at the time, which was likely inevitable considering the huge shadows those megabands cast. There's no denying that. But their own talent was really impressive, and fans of '90s thrash need to have this on its own merits.