Blood of Kings [2011 DEMO]

The packaging of the debut demo from Seattle trio Blood of Kings is rather off-putting in the way that it looks like something an alternative group from the 90s might have released. Luckily for us, the old cliche wins out again, as 'don't judge a book by its cover' is quite the moral of the story here. This band is a metallic force, channeling many influences to create a cohesive mix of thrash, speed, and blue collar US power metal. It's grounded in the fundamentals of the aforementioned styles without becoming an anachronism or aspiring to imitate the sound of one particular legend. I hate to milk the old nostalgia cow, but there really aren't enough groups like this anymore, and it's refreshing to know that there's one more band championing the classic heavy metal sound amid a world of numerous European fairy outfits, thrash revivalist clones, and deathcore oven fodder.

At their heart, Blood of Kings thrives with riffs, and there's a hearty feast of them to be had here. The penchant for melody and technical proficiency found in the more traditional guitar parts fondly reminds me of American heavyweights Pharaoh, which can never be a bad thing. However, their hybrid of similar genres more closely resembles the balance struck upon Metal Church's self-titled debut, never quite going with blistering speed while also not settling into the mid-pace. This allows the music and vocals to be versatile and consistently interesting. Extensive stretches of instrumental variation serve to differentiate the song structures, as do a unique duo of vocalists. The more frequent belter bears a gritty but somewhat nasally and high-register voice, while another supplies growled snarls slightly reminiscent of Kreator's Mille Petrozza. All in all, they prove a worthy team, even if I didn't quite find the vocals to live up to the music.

This demo consists of four tracks of considerable length, with each longer than the song before it. They fire right out of the gate with "People of the Light,"  a simple barnstormer that immediately shows the listener what Blood of Kings is all about: furious NWOBHM spirit with just a bit of thrashy vitriol and a flair for rocking fun. "Force Fed" is easily my favorite offering among the contents, once again giving me Pharaoh vibes with a complex opening riff that I'll have a hard time forgetting. The chorus is to die for, slowing down only to pound another gorgeous guitar melody into the depths of your brain. "Heart for the Land" is a galloping and grinding beast that unexpectedly pulls out some Mercyful Fate stylings after its midpoint. Finishing things off is the seven minute "Derailed," which begins simply enough but builds up in speed and intensity as it goes on, becoming a blistering wave of thrash by its sudden conclusion.

If I have one major complaint, it's that after a half dozen listens or so, some of the vocal lines began to grate on my nerves a bit. This is especially prevalent on side B, when the singing becomes less varied. However, this is really only a minimal flaw in the grand scheme of what I'd consider a great release. Blood of Kings have created a (thankfully) well-produced demo which bears mature and compelling songwriting on their first try, one that would best many of the myriad power/thrash metal bands recording their sixth full length as we speak. It succeeds on both a 'work' (serious) and 'play' (party) level, never stroking its own metallic ego or lowering itself to a goofy, banal joke. I'd easily pay full price for a full-length offering of this quality, which the band is apparently working into forging later this year. For now, submit this tape to a deck near you for a killer afternoon.

   Overall: 7.75/10 (Good)

Deathhammer - Onward to the Pits [2012]

My indifference for modern thrash albums with spiffy clean, perfect production jobs is inversely proportional to my love for those records transparently seeking the archaic, occult overtones of the classic 80s sound, which is why I just love it when a band like Deathhammer drops a bomb like Onward to the Pits. This is nothing short of an exceptional recreation of an essence thought to have perished years ago. It's an album that sticks to its influences with uncompromising loyalty without directly copying or plagiarizing from the cherished source material. For the appropriate time allotted, one is submerged into hell and subjected to the punishing power and tormented shrieks therein. Nothing is particularly evolutionary or innovative about it, but it thrives in its unpolished, martial niche.

Without any exaggeration, Onward to the Pits could have dropped in 1986 to zero suspicion in regards to both the production and musical direction. Some may find issue with such a notion, but I could hardly have been more pleased. It's raw, pissed off, and fast, with little deviation wanted or needed. The riffs blaze with a certain rowdiness, going off the rails with unrestrained force and speed. It all comes together like the middle ground between Metallica's debut Kill 'Em All and Kreator's early bestial works. The over the top vocal performance  of Sergeant Salsten reflects the barbaric wrath of the music perfectly. One minute he's growling and shouting in first wave black metal fashion, and the next he's launching into insanely high pitched, ear-splitting cries, a style comparable to the anomalously popular Vektor.

All in all, Deathhammer's latest is a highly enjoyable time capsule for those longing to return to the days of thrash metal's golden age. There simply aren't enough albums of this style being released anymore. If I have one reservation with Onward to the Pits, it's that the consistent level of haste and dynamics doesn't allow for many distinguishable highlights. It all sort of runs--no, blitzes--together as one trampling entity. In any event, this record's strengths greatly outweigh its weaknesses, and it offers no choice but to succumb to its militaristic charms. The most comparable recent release I can think to compare it to is Antichrist's 2011 old school masterpiece Forbidden World, which, in a similar but greater ilk, marched onward to the seventh circle of hell and conquered it with ease. However, with this two piece following Asphyx's album of the same name as the second Deathhammer of worth this year, the pits definitely have a new king.

   Overall: 7.75/10 (Good - pray to your feeble savior)

Antichrist - Forbidden World [2011]

Well, wouldn't you know, Sweden conquered again. Just when I was beginning to think thrash had completely lost all its relevance and vicious bite, components wearing painfully thin in this flock since its peak years in the late eighties, this upstart band Antichrist and their almost purposefully cliched moniker has unleashed this shocking abomination of evil known only as Forbidden World. One needs only to look at the (in my opinion) awesome cover art and the song titles to figure out what's in store for the listener here. No, don't call it revitalist thrash metal; this isn't the overly produced and formulaic material offered by Metallic/Exodus lite bands like Havok and Evile; this a forty-three minute torrent of utter musical chaos set to pulverize any poseurs who dare come too close and demolish any living thing foolish enough to get in its way--the greatest metal album of a great year that just kinda snuck in and took the crown while no one was looking.

As one might expect by the dark vibes of the lyrics, Antichrist is more firmly rooted in the scarier German side of all things thrash, and the violent, noisy nature of the actual music strongly reflects that. Hints of early Kreator are strong with this one, though the speed is often a tad less jarring and the album a great deal more melodic in turn. I would compare it to the controlled onslaught of Coma of Souls if Antichrist didn't sound so hostile here, as if they were wild, bloodthirsty hounds just a chain link away from breaking free and tearing their cruel human captors limb from limb. Just listen to the chilling vocals; are they the sound of a simple man's sinister screamed rasps, or the product of a demented soul tortured for all existence? I could hardly tell the difference, Steken presenting his panicked, frenzied phrasing like a speed demon freak from within the heart of Hades.

They don't screw around when it comes to delivering the riffs, either. There's admittedly little technically astounding about the guitar-playing, but I dare anyone to sit still when a full-on blitz like "Torment of Hell" engulfs your system. It's mostly delivered in a fast but intelligible manner, only slowing in truly epic numbers like eight minute tracks "Necropolis" and "Minotaur," the former bearing a verse rhythm to die for and latter being an instrumental anthem that never loses your attention even in its trying length. Every element of the sound is drenched in low-fi tones, mesmerizing in its commitment to being as 'pure' as possible in its relentless pursuit of capturing a bygone era without losing any of its own songwriting elegance. Oh, and these songs are about as memorable as they come. It'll only take a few listens before you start making yourself look like an idiot shouting along to its many unforgettable lines. Don't believe me? Try for yourself.

Yes, Antichrist is firmly rooted in the old school. There's no getting around that fact and it absolutely bleeds through into the music. They're not afraid to worship Kreator, Destruction, Assassin, of Morbid Saint any less than your next throwaway "retro" thrash band is. However, unlike most bands in this oversaturated genre today, this band's fearlessness doesn't stop at pummeling the listener into an insurmountable void of unconsciousness; and, although I respect what they do, that's not something I could say for similar groups like Vektor. This is an album that represents everything great about thrash in a nifty package suitable for the new century. Yep, Forbidden World really is that good. Doubters of grandiose statements better turn away now. It's the best thrash album of the millennium thusfar (by far) in this reviewer's not so humble opinion, and the most satisfying debut offering in years. You just don't know how much you need it.

P.S.: You might want to pick up some medications for the neck and back pain this album will inevitably cause. Phew, I'm dizzy; time for a break.

   Overall: 9.5/10 (Incredible - tormentor, torment me!)

Nevermore - The Obsidian Conspiracy [2010]

Nevermore has never been a consistent band, but their career highlights are extraordinary. With puzzling releases such as The Politics of Ecstasy and Enemies of Reality coming after better outings like the self-titled album and Dead Heart in a Dead World respectively, it should have been expected that Nevermore would follow their best album (the astounding This Godless Endeavor) with their worst; and yet I remained in denial through the five year break, through the solo excursions, through the shaky interviews, and through initial listens to some of the album's tracks. Yep, it shouldn't have been a surprise that The Obsidian Conspiracy sucked, but it was, and it was a bitter one at that.

The songs here are shorter, more simplistic, and more accessible than ever before. That might not be a problem if most of them were actually good. Gone are the lethal thrash riffs, the raw production, the cynical yet evocative vocal performance, and the crushing energy. They've all been replaced by a soft, apathetic feeling fraught with extremely modern trappings and incompatible song parts. Seriously, the verses and choruses don't even fit together half the time (see "The Declaration Proclamation"), passing off mechanical structures with hollow spirits as album centerpieces. Others are unacceptably repetitive and annoying ("Your Poison Throne"), while a couple show promise but botch it with bad decision making at some point within ("Without Morals" and "She Comes in Colors"). Few tracks are flat out offensive (I'd have to site the empty title track in particular), but most are forgettable and mediocre enough to kill any enjoyment I could possibly get out of them.

The performances of the two head honchos here are sub-par at best. It's obvious that a mutiny was imminent from the sheer lack of care on display throughout each and every track. Jeff Lommis's excellent soloing is mysteriously absent, instead dwelling on braindead, whiny leads. It's frustrating to hear talent restrained, and I'm sure he was frustrated as well. At the forefront of this issue is Warrel Dane, who evidently doesn't care, selling out his signature emotive snarls for an uninspired clean approach. Even the lyrics, which were one of the band's best aspects, are watered down and awful, coming across not as the political hate machine Warrel once was, but as an old man struggling with dementia. It's like he's trying to continue his style from his (admittedly satisfying) solo album on a Nevermore record. I shouldn't have to tell you that it doesn't work.

I can only guess that the entire purpose of The Obsidian Conspiracy was to make Nevermore marketable to the masses, a move that resulted in an album that only vaguely resembled the band in the first place. No wonder Jeff Loomis left; what we have here is basically Soilwork, Warrel Dane's solo material, and a pinch of old Nevermore put together in one questionable concoction. The Obsidian Conspiracy is an entre that tastes decent at first, but assaults your digestive system and pains you on its way out. Finally, it ends up in the toilet where it belongs. Now we can only hope that it stays there.

   Overall: 4.25/10 (Poor - This is why I hate you)

Sabbat - Sabbatrinity [2011]

When I think Sabbat, I think about the excellent United Kingdom band that released two masterful thrash albums in the late 80's. However, it turns out that this Sabbat from Japan has been around even longer and has released a mountain of cult but well-received records in the last twenty years. I'm a little late to the party, I know, but not too late to enjoy this nice little gem. Sabbatrinity contains nine down and dirty, old-school (and I mean old-school) blackened thrash metal songs and one instrumental outro. No ballads, no screwing around, no progressive elements, not even a slightly modern production; just straightforward, archaic killing sprees in worship of the occult. It isn't the heaviest or catchiest genre offering I've ever heard, but Sabbat's latest effort presses all the right nostalgic buttons to put smiles on jaded thrash fans' faces everywhere.

Like I said, the sound quality is bad. Seriously bad, but in that charming classic way. If anything, that's the biggest problem with modern thrash: everything's so polished and clean now. I'd honestly rather listen to something that sounds like a demo from 1984. The music itself is what's important, of course, and it's exciting in great measure. The vocalist reminds me of a wilder, Japanese version of Ron Royce (of Coroner fame), except that sometimes he lets loose these high-pitched shriek growl things; you just have to get used to it. That's where the Coroner similarities end. There's no technicality in the Sabbat gameplan. They don't actually play too fast, either, which allows for more melodic parts to keep things memorable. Superb songs like "Witchflight" and "Karmagmassacre" never leave your memory, but my personal vote goes to "Root of Ultimate Evil" for having a chorus that I, for the life of me, cannot get out of my freaking head.

"Northern Satanism" doesn't really do anything for me, but the rest of the songs scorch for the modest running time (another great feature). My biggest problem with Sabbatrinity is that the guitar tone could be a bit grittier in the sound; otherwise, I love this old-sounding mixing. This is undoubtedly the best thrash album released so far this year. It has the sound (and the songwriting that fits so well with it) that bands like Havok and Artillery lack nowadays. Mix that with awesome cover art and an even cooler logo, and you have an icon-worthy group that's hovering far below the scene's radar. I'd say that they should be more popular, but I imagine that even Sabbat wouldn't want it that way. Well, enjoy 'em if you're lucky enough to know about 'em!

   Overall: 8.25/10 (Great - the curse is on)

Havok - Time Is Up [2011]

Havok is riding high in the new wave of thrash metal, and their latest album Time Is Up has recieved quite a bit of attention. Essentially coming from the much maligned "no innovation necessary, just asskicking" classic thrash genre, it features all the components of the 80's thrash giants, only slightly modified with modern production. Bands like Havok obviously don't focus on originality, but when the output is this strong, that isn't much of an issue. Apart from a couple fillers and the qualms I have with modern thrash, Time Is Up is a non stop display of strong riffs, memorable choruses, and some fun lyrics, too.

If Bonded by Blood came out in 2011, this is essentially what it would sound like. Of course, this is dropping the charming raw production necessary and a couple of killer tracks Havok just aren't capable of, so no, I'm not calling it an equal album. I mean only to say that this is pretty much the 1985 Exodus style verbatim: a focus on slower, melodic riffing rather than speedy savagery, a similar style of angered snarling, and even a knack for going for the catchy chorus all make this very comparable. It doesn't match up track for track, though. "The Cleric" and "Out of My Way" are clearly fillers only here to run the playing time up a bit. Any thrash fan would want to hear the highlights, though. "Killing Tendencies" and "Scumbag in Disguise" take no prisoners, but my ultimate favorite is "Fatal Intervention," a badass number with one the best choruses I've ever heard in thrash metal. It all strongly reminds me of the glory of "A Lesson in Violence":

"This is fatal intervention
Violence rages throughout
Thrashing with the intention
Of never letting it stop"

Lyrically, the album isn't exactly breaking philosophical boundaries, but that just goes along with the 80's motif. It has to be about "thrashing," being awesome, and chanting generic cool-sounding phrases or it doesn't truly capture the essence of what it used to be all about. I understand the arguments that these retro bands are a complete waste of space and that they bring nothing new to the table, I really do; but let's face it, the genre started repeating itself a long time ago, and I'd rather hear these fresh bands having fun than the same old ones crashing and burning with each subsequent release. If you can manage to look past these preconceptions you may just find a nice release to fill out your thrash library.

   Overall: 7.5/10 (Good - and then you die!)

Artillery - My Blood [2011]

Time has come again. My Blood continues on the promise of When Death Comes, not taking any chances, but also not taking any risks, a quality about it that eventually detracts from the overall product. It's a stunted evolution. Artillery's philosophy seems to be, "why mess with perfection?" And really, who could blame them when they consistently have so much success? I just think they could give a little more. This should make the truth pretty clear: if you didn't like or just weren't satisfied with Artillery's 2009 comeback, My Blood will do nothing to change your mind. The only differences are minute and few and far between. This is the same middle eastern influenced riff monster that was and has been so technical and so outstanding for so long. (If you've forgotten my "formula of a general Artillery riff," refer to my When Death Comes review. In short: 110% of insane, technical thrash badassery). For those who did enjoy the last release, you're in for a hell of a ride. The question is, have they taken it too far?

As always, the performances are ridiculously pristine. The Stützer brothers must have discovered the formula for the eternal flame, because they never cease to scorch all over every moment with furious, inventive riffing. The two keys to their success are: 1) sheer technicality and 2) unprecedented heaviness. When the guitarwork isn't insane, it's melodic and powerful all the same. As such, Artillery is never too heavy to be catchy, and never too catchy to be heavy. Adamsen is completely at home with his role in the band, putting on a vocal performance that never lacks power. Screaming, chanting, and rhythmically howling when need be, Adamsen sounds convincing even while singing sometimes admittedly juvenile lyrics (brought to a new low with the cliched "Thrasher"). They don't really detract frohm the album, though, as one comes to expect such lyrical themes in classic thrash such as this.

Things kick off with "Mi Sangre" (get it?). Artillery's longest song ever, it clocks in at about seven and a half minutes and takes the band's Egyptian vibe to a whole new level. This is probably the highlight of the album, infused with ignited leads, expectedly catchy components, and plenty o' riffs to die for. Speaking of riffs to die for, one doesn't to look too far ahead to find them in lavish abundance. "Monster" is clinic from start to finish, easily one of the bands heaviest rampages yet, even if the chorus isn't very inventive. "Death is an Illusion" adds some melodic flair with its almost power metal chorus. "Ain't Giving In," a track way back from the coveted Mind Factory demo, is a power ballad from hell, delivering simple but effective lyrics and a new set of parts that cannot be removed from memory. "Warrior Blood" is a searing battle anthem with lethal riffs and a vocal performance that shows Adamsen means business. "Concealed in the Dark" powers back with a sinister mid-paced chorus.

The biggest problem with My Blood is its refusal to progress past the style previously used so many times before. Unfortunately, a distinct formula is showing through, and the album grows tiring all too soon. However, I still enjoyed it for all its worth, and it should be a safe bet for any Artillery fan or any fan of melodic thrash metal. Hopefully we'll be in for a revolution next time. Oh, and the bonus track remakes from Fear of Tommorow on the digipak edition kill.

  
   Overall: 7.25/10 (Good)

Artillery - When Death Comes [2009]

Artillery... Just hearing the word come up in common conversation gets my heart racing, my mind going, and my blood pumping. Most of those reasons would be greatly influenced by their 1990 anomalous masterpiece, By Inheritance, an unbelievable collection of timeless rampages and jaw-dropping riffs. So, when you're reviewing a newer release by the same band that made your all-time favorite thrash album, one has to be careful about being over judgmental and critical of the smallest flaws. Fortunately, I found absolutely no need to do that. When Death Comes is simply superb fun from start to finish. Obviously, it's no By Inheritance, but that wouldn't be possible to recreate in this day and age, anyway. People need to accept that these bands will never recreate their masterpieces. If one enters this release with that mindset, I'm certain all he or she will find here is an outstanding display of thrash.

This is thrash only the way Artillery can play it. There's no mistaking an Artillery riff; from the very first note, you know who it is. Basically, nothing has changed in the guitar department, thank god. Immediately one recognizes riffs that would feel right at home on the band's 1990 opus, and all possible anxiety I had that this might be another disappointing comeback dissipates. Here's the makeup of a typical Artillery riff: 25% Egyptian, 10% melodic, 40% technical, and 35% INSANE. Add that up, and you've got a perfect 110% on the pure heaviness scale. Now multiply that by about 30, and you've got a full-fledged Artillery album. Well, I can tell you now, When Death Comes is a full-fledged Artillery album.

Okay, okay, so an album would be nothing if it was just a random collection of riffs with no regard to songwriting. Well, worry not, friends; we have ten doozies. No filler, all killer, if that old adage is even in use anymore. Cutting it down to the more specific highlights, one only has to press play. The opening title track is the perfect way to kick this festival off. With riffing the most similar to BI of all the songs and an awesome chorus that I can never get out of my head, this gets one in the thrash mood right away. Look ahead to "Rise Above It All", which does exactly as its title proclaims with the insane display of soloing about halfway through, seeming to go on and on just for the fun of it. Couple that with Adamsen's convincing snarls and we've got another winner on our hands. "Delusions of Grandeur" is the semi ballad of the album, which in general tends to be thrash suicide with most bands. Artillery, however, knows how exactly how to do it. I can't help but sing along to that insanely melodic chorus every time. Also, Adamsen shows his great ability to really sing on this one.

Finally, "Damned Religion" arrives, my favorite on the album and quite possibly the very definition of the term badass. That riff during the verses makes me want to start destroying anything unlucky enough to be in the nearby vicinity. This thing rivals the sheer energy of the break in "Back in the Trash", something I previously thought to be impossible. All in all, When Death Comes is just freaking awesome. I almost feel guilty just trying to narrow down the highlights to meager few, because they're truly secreting out of every filthy, heavy corner of this album. The performances are tight, the songs are killer, and the production is perfect. What more can one ask for? I believe the biggest concern fans had coming into this release was how Adamsen was going to perform as Ronsdorf's replacement, but as far as I'm concerned, he lives up to the legend, doing both the fans and the band no disservice. The killing spree will only continue...

   Overall: 8.5/10 (Great - 3300% on the riff etiquette test)

Watchtower - Control and Resistance [1989]

It's difficult to put to words the effect of an album that is so influential and important to its genre. It's especially hard to do when the release you're dealing with is Watchtower's "Control and Resistance". Like an unsolved riddle that's still yet to be decoded after decades of close investigation, Watchtower's sophomore outing has been mystifying and enthralling constantly since it was unveiled over twenty years ago. What makes this thing so irresistable yet puzzling all at once? That's a question not answered easily, which is fitting, because Control and Resistance is an album not easily listened to. It's a record that's so technical and inaccessable that musicians still haven't caught up in the present day. I've grown up with the thing, so I'm no longer really phased by its uninviting, caustic aura, the one element that may detract for some. I say, bring it on!

This seriously sounds like a band formed in an asylum and crafted the project of four truly twisted minds; you've got schizophrenic rhythms and riffs, ridiculously on-the-nose, cynical lyrics, and then they're all spouted by the head maniac himself, Alan Tecchio, sounding like the tortured screams of a burning man. The only factor inconsistent with this fully credible theory is the undeniable professionalism with which it is all put together. Sure, any of those factors individually might make for a neat gimmick on another thrash album, but on Control and Resistance, it's all blended together in a near perfect blur of futuristic technical mastery. There isn't a note I'd change today. Really, how could you change art? That's what this is, a piece of elegant art metal.

To think, I haven't even covered any songs yet. This thing kicks off with probably its craziest song, the almost scary Instruments of Random Murder. With no repeating sections and a violent lead riff, this track sets the stage for the entire album, and that stage is one fraught with anarchy and emotional insecurity. Still, the apocalypse rumbles on, and next we have the uncharacteristically short The Eldritch. This song features a creepy atmosphere one can't but like. Mayday In Kiev begins with a bass line that screams Rush worship, and Doug Keyser is fully up to the task. This has got to be one of the few technical albums where even the bass is precisely mesmerizing in its insane complexity. Coupled with Jarzombek's jazzy, supernatural leads, this has to be one the most technical albums ever.

The strange coincidence within that statement is that Control and Resistance is really not even that fast. Take for example the next two songs on the album, long epics The Fall of Reason and the over the top title track. They build upon slow structures that only eventually burst, yet you never doubt their advanced, difficult cohesion. In fact, I'd argue that the slow, moody moments are the highlights of the disc, showing off the band's artistic patience. Never do they seem even slightly urged to bust into a fast, stupid "thrash for the sake of thrash" riff. Everything is carefully composed and painstakingly played. Although I don't like any of the last three tracks as much as the first five, they're certainly no slouches either. Life Cycles is especially notable for its almost balladic chorus.

Watchtower's crude, raw debut Energetic Disassembly may have laid down the technical thrash foundation, but Control and Resistance walks all over it. With a greater attention to detail and focus in crafting memorable songs, Control and Resistance is a pretty much flawless example of the genre. Although I've grown to prefer the more accessable (and wonderful) Think This, also released in 1989 (by Toxik), this album's legacy has not diminished to this day. Thankfully, it isn't one of those albums that has grown dated, and it is still totally capable of living up to the reputation given to it by Watchtower's fans. Though it seems more and more like we're never going to get the supposed third release, at least we can spend time spinning this to remind ourselves why we want it so bad in the first place. Pure chaos.

   Overall: 9.5/10 (Incredible - a shadow strikes...)

Metal Church - Hanging in the Balance [1993]

After already proving to all that would listen (which was tragically too few) that they were a special thrash metal band with their previously released elegant masterpieces Blessing in Disguise and The Human Factor, Metal Church ascend even higher, challenging the thrones of the immortals with this perfection-defying, moving piece of  music known as nothing other than Hanging in the Balance. How can I even describe in so many words the impact this album has upon its listener, its crushing yet beautiful riffs, and the profound emotional statement it manages to transmit to your inner soul? The fact is, no man or god can, and I’m sure that even the band can scarcely recall the place they must have been in to write such a stirring monument.

I don‘t know if any other album has ever had a more convincing opening half than this one. Gods of Second Chance doesn’t sound like anything else here, and yet it turns out to be the perfect first track. A bass-driven and rather slow churn, it isn’t reminiscent of thrash (or Metal Church) at all, thus beginning a theme of making a goldmine out of the most unlikely-to-succeed ideas and situations. As a result, Metal Church never become the victim of their own artistic prowess, with the overall product being somehow accessible despite their unrestrained brilliance. Riffs and rhythms pound with an eternally memorable buoyancy, and the crystal clear production really brings to life the energy and feeling held within. Not once does Kirk Arrington resort to copy-and paste, faster-than-thou thrash drumming; every tap of the cymbal is with purpose, and his performance helps carry the songs to the promise land.

Then, as if it all wasn’t enough already, Mike Howe unleashes his unworldly presence upon us all and we have no choice but to follow his haunting growls to the grave. Like a mix of the most powerful Halford, Bruce Dickinson’s energy, and an elusive flavor all his own, Howe’s top flight vocal delivery manages to find some vacancy in the deep-carved anthems and fill them with a voice that utterly dominates. Most captivating of all are his lyrics, perhaps the element you would least expect to keep you coming back to an album, but they do just that. Expressing hardships, abuse, war, and the misguided nature of youth, they tackle serious concepts without treading in the ridiculously on-the-nose, Mustaine political nonsense waters.

The other two earth-shattering highlights of the album are soon to follow after that spotless opener. Losers in the Game has a heavy structure with a lighthearted subtlety, recalling you to the better times long past. The merciless verses give way to a ludicrously catchy chorus, but this just adds on to the wonderful nostalgia of the piece. Commercialism isn’t always a bad thing. Skip ahead to Waiting For a Savior, and we’re delivered the absolute peak of what music can accomplish. This is a ballad replete with genuine emotion through and through, complete with probably the most meaningful message ever portrayed in any song.

Once we find our way to the album’s end, we realize that Metal Church had what so little others had: hearts that were in the music and truly felt that their product held their inner thoughts and feelings within. The truth that it's not even a real thrash album doesn't take away from it all. At the end of the day, I find Hanging in the Balance to be an absolute necessity to live. The fact that a band playing at such an insanely high level had to disband because of a lack of popularity is probably the ultimate stigma of humanity’s existence. Nonetheless, at least they left us with a pure miracle of an album, a euphony of timeless tracks and emotional resonance. What more could we ask for?

   Overall: 10/10 (Absolute - With clear cut emotions...)