Monday, March 18, 2024

Asphyx - Incoming Death (2016)

Three albums in to Asphyx's reunion with Martin van Drunen, and I feel like you know what you're getting to get when you spin one of these things. Crushing, basic death metal, straight from the early 90s in craftmanship, but blessed with the advancements in production that can make it sound absolutely enormous by comparison to so many of those seminal works. The Dutch act has long maintained a very workmanlike build to its material, the riffs don't really sound very evil or atmospheric or even that catchy, but they bring the brawn rather than the brains, and for that reason they're always listenable, even if I couldn't pick many of these tracks out from a selection of those on the surrounding albums. Another band that, like a Bolt Thrower or Obituary, are quite content following the same path without ever distracting themselves with some attractive side-trails.

Incoming Death is almost as predictably named as it sounds, but if I'm being truthful, there is no amount of redundancy that can't be overcome by how Martin's gruesome grunts interact with the mix on these guitars. He sounds just as fleshy as they do, and he's always been one of the more distinct throats in the field, even though my preference will always be for his presence on the first two Pestilence albums, because the music there was absolutely fucking perfect to support him. Asphyx doesn't always seem like they take a long time to put the material together, just stringing together a standard supply of chords and letting the enormity of that guitar tone do the rest of the work. You do get a variety, from the grindier sway of tremolo picked riffs in "Candiru" and "It Came from the Skies" to the more measured, doomed gait of "The Grand Denial" or snail-like grooves of "Subterra Incognita", and that goes a long way to curb off any monotony, especially with the nice occasional lead or melodic guitar line for an added dimension to the atmosphere.

The mix here, from a little-known Swedish musician and producer named 'Dan', is exactly what the material needs to fatten out its simplicity, so that the tones can district from the lack of technicality or complexity in any of the riff patterns. The bass throbs with a thick distortion, allowing it to pop out occasionally from the tank-tread weight of the rhythm guitars, and the drums keep things pretty simple, but rock out just right against the crush. The songs can get a little boring if you're expecting any surprises, but they do happen once in awhile, like the piano finale to "Subterra Incognita", or that HUGE bass groove in the depths of "Death: The Only Immortal". Overall, Incoming Death is another win for the band, though it not all that much more memorable than the two albums before it, Death...the Brutal Way and Deathhammer; marginally better recording, but the tunes don't dazzle beyond the superficiality of their massive crunch.

Verdict: Win [7.25/10]

https://www.asphyx.nl/



Friday, March 15, 2024

Cryptopsy - As Gomorrah Burns (2023)

Crytopsy's drummer Flo Mounier is the same age as I am, but while I'm waking up with the aches of pains that grind deeper with every year of Middle Age, the guy sounds like he's jacked into some cybernetic shit, the living embodiment of his drum kit that makes every blast beat, double bass roll and tempo change as effortless as the input of a single key on a keyboard. Like brutal death metal is some binary language in his genetic code that automatically enables his hands and feet. The fact that the rest of his band isn't left behind his capability is a testament to how well they lock together, and due to this consistency and intensity, As Gomorrah Burns is the best album the band has put out during the McGachy-fronted era, trouncing the competent s/t from the previous decade, and the ensuing EPs, though not by a necessarily large margin.

The caveat is that this is the same, frenzied, modern tech/brutal death Crytopsy that they arguably always were, but had kind of faded into the background after a thousand other bands caught up with their skills and energy. It's a vortex of blasting death metal rhythms that alternate with thrashier, choppy outbreaks for pure neck-jerking, and rarely gets any slower than that. It's highly mechanistic sounding, and feels just like a lot of other works in the genre where individual tracks can lack the distinction of classic DM tunes. That said, they do keep some of those progressive, melodic breaks that were developed across the last EPs, and there are some formidable leads in between the grooving and thrusting, where the listener can get a little more atmosphere, something much of the brickwork brutality is lacking. The Mounier/Donaldson/Pinard trifecta is a virtual storm of limbs that never tires, and while McGachy's vocals still aren't as unique as a Lord Worm, he's well literate in this style and offers enough flexibility and professionalism that I'd consider this his best performance to date with the band; though he still clearly lacks the status of legendary growlers and snarlers you could pick out of a lineup.

As Gomorrah Burns gets better the more the band sticks its neck out for new ideas, like the flighty little melodic noodling that opens "Flayed the Swine" or the the dissonant thundering that "Obeisant" works up to. In fact, I'd love to hear the band just stretch even further into making the most weird and progressive BDM they can, though maybe not as loose and weird as something like Once Was Not or the lamentable And Then You'll Beg. But there is just so much latent musical potential here to explore even more psychotic vistas of extremity than what we're hearing. That's not to take away from this particular album, which has plenty of 'oh shit!' moments and is enjoyable whenever I'm in the mood for this style, but I still think there's room for more interesting songwriting, even if they take more breathers and don't feel the need to dizzy and impress us all the time. Wishful thinking aside, though, there's no reason the audience of brutal tech/death finesse would find much lacking in this 33-minute exercise in extremity, chalk full of the Canadians' patented weaponry.

Verdict: Win [7.75/10]

https://linktr.ee/Cryptopsy

Thursday, March 14, 2024

Cryptopsy - The Book of Suffering - Tome II EP (2018)

The 2010s were not a super busy period for Canada's Crytopsy, with just the decent s/t album in 2012 and this pair of Book of Suffering EPs which were self-releases that didn't stir up a ton of attention. With only four tracks to follow up Tome I's four, it didn't seem like the band was engaged in a lot of creativity. That's not to sell the material here short, because this EP possesses all the intensity and technicality you'd expect from one of the most brutal bands in the genre's history, and there are a few fresh ideas to round out the songwriting, but it's over in a flash, and so concussive that it can give you a headache or disappear amongst all the other output in this very style that has flooded a dozen or so labels these last two decades.

The band still leans heavily on Flo Mounier's almost inhuman, mechanical drumming, but Christian Donaldson's guitars are also a highlight, leveling out a myriad of riffs all over the fretboard, some more clinical and melodic ("Sire of Sin"), others just sort of driving along in rapid succession to the grooves and blasts, but either way you'll certainly be listening through the tracks numerous times to catch onto everything. Olivier Pinard's bass is also intimidating, as dizzying as the guitars, but also laying out some fat plunking moments like the breaks in "The Wretched Living" or just lines that feel appropriately complex if we were to isolate them from the rest of the mayhem. As for Matt's vocals, I still find them incredibly generic, he doesn't have the character of some of his predecessors, and all the gutturals and snarls do feel interchangeable with countless other acts in the genre. That said, he's not lacking in the actual energy and percussive nature of his delivery, and over the year he has certainly fit into the formula so that he's nowhere near a detriment.

Like a lot of technical/brutal death, there's a modular sense of construction which seems like pieces could be swapped between songs and nobody would know better, meaning it's quite consistent in execution but also a bit indistinct. They definitely try a little innovation, like the choppy little extreme Voivod bit in "Fear His Displeasure" or numerous other progressive sequences, but the nature of how harried and busy they write doesn't let you linger on any of the catchier, striking moments, instead barreling headfirst into another blasting clusterfuck. It's all very precise, don't get me wrong, it's not sloppy by any means, but they are in such a rush to dazzle that I just can't get too absorbed into anything. It's the nature of the sub-genre, perhaps, but I actually think Crytopsy would be stronger if they focused in on the more adventurous material, and just gave us the blasting when it really counted or when they could support it with a better quality riff. Tome II is calamitous, crazy and I'd say both superior to its predecessor, worth a few spins, and loyal to the Cryptopsy trajectory at large, but it often falls prey to its own short attention span.

Verdict: Win [7/10]

https://linktr.ee/Cryptopsy

Wednesday, March 13, 2024

Obituary - Dying of Everything (2023)

Dying of Everything might have received the most critical praise I've seen for an Obituary album in a very long time...at LEAST since the first few back in the late 80s/90s when they were sort of a shocking novelty based on the roiling guitar tone and John Tardye's sickened vocal style. It seemed like I couldn't avoid year's end lists, blogs and videos without this being mentioned, and having just skimmed over it upon release, I was looking forward to going back to it and hearing what I might have missed. This has led me only to confusion, for while this album does fire off a few very exciting tracks, the rest are quite dull and predictable, business as usual for one of Florida's least progressed death metal acts, and I don't mean that as any sort of insult, some groups stick to what they know, and this is one of them.

Now, "Barely Alive", the opener, is quite explosive and really gave me hope for this album when I first came in contact. It's not super catchy riff-wise, but the energy and leads are certainly palpable and it's hard not to get infected with it. But just as quickly, you get "The Wrong Time", which has a cool intro followed up by a pretty boring rock-ish riff, with maybe one decent groove later on. And that's the formula for many of the tunes, there's one undeniable ferocious part and then a bunch of filler riffing to surround it. Not for the first time, and hell even the better riffing sequences here just sound like slight variations on many others they've already released. Again, that just comes with the territory, there's just not much nuance or ambition to any of the material. You get a few hints of it, like the drawn out backing growls, and the bolder and brighter production than on a lot of their albums, but structurally, while this ticks all the boxes and does hurl out a half dozen admirable riffs which spark all my nostalgia for their first two, beloved records, it's rarely something special.

Now, admittedly, that production IS great...it sounds huge coming out the speakers, one of their better balanced mixes through the decades, grasping on where it can to modernity without losing the original plot, and the chugging, the lead guitars, the vocal and drums are all monstrous. There is certainly an audience for that alone, and I think that might be the main draw to this one, but anytime I'm really about to get into a track, they just spin off into some banal, uninventive material that doesn't impress me beyond the audio force alone. The Mariusz Lewandowski cover art does feel fresh for the band, and don't get me wrong, this record sends dreck like Darkest Day, The End Complete and Frozen in Time home on a stretcher, but I wouldn't mind hearing this same level of production used on material that's more evil, atmospheric, or even slightly dissonant and innovative within the riff choices themselves. It's a decent record, but like a lot of what they've put out, feels like jogging in place through the cemetery, where I'd rather they dug down a little deeper into the rot-choked soils, or broke into some of the sepulchers for some ideas.

Verdict: Win [7/10]

https://www.obituary.cc/

Tuesday, March 12, 2024

Obituary - Cause of Death: Live Infection (2022)

Like it's companion piece, Slowly We Rot: Live & Rotting, this is a full live presentation of one of Obituary's classic albums, and this one happens to be my favorite across their catalogue, so I was a fraction more juiced to check it out for those morbid, evil grooves and riffs that I clung to so much growing up. This one is also recorded in Tampa, so basically the band's home turf, and given the same extremely professional treatment, sounding just as good or better than when you're actually standing in front of the band at one of their gigs. The tunes on this album are slightly more controlled and I daresay catchier than on the debut, but at the same time they did feel slightly less carnage-strewn or extreme, but here on Live Infection, there is more of a consistency with Slowly We Rot, and as they start churning along, they get a few opportunities to measure up in extremity.

Again, they are played exactly in the order of the original, including the Celtic Frost cover of "Circle of the Tyrants", which sounds superior to the "Dethroned Emperor" they tossed onto the other record. The chords feel meaty and powerful, and since they're a little more spacious and measured than on the debut, the drums Donald's drumming feels even more powerful. Some of my favorite Obituary tunes like "Body Bag" and "Memories Remain" sound absolutely fantastic, and while John's doesn't always sound 1:1 for the studio versions, he's grotesque and intense as his throat splatters these lines all over the huge grooves. The leads sound a little better and more musical with the way their effects work in the live incarnation, and overall the first nine tracks of this brought so many great memories and turned out to be one of the better live albums I've come across in the last couple years. I realize it's trendy for all these bands to be playing their classics and some might consider it a cash grab, but the fact is a lot of these tunes probably left the set lists long ago, so it's good to have them back even in a limited capacity.

Like the Slowly We Rot live album, there are tracks added here which were not a part of the original, but a sprinkling from later in the career. "Straight to Hell" from the s/t doesn't do a ton for me, but "Threatening Skies" is exciting with its hardcore-meets-Obituary feel, and then you've got the dependable grooves of "By the Light" and while I'm no End Complete fan, I think "I'm in Pain" sounds much more explosive in this live setting than it did fronting that studio album. So in addition to me enjoying the core experience more, the add-ons are also slightly superior for me than those chosen for Live & Rotting. Having said that, I think both of these albums are better than their old 1998 live album Dead, which was actually decent in of itself, but lacks the strength that these have by focusing in on the best material the band has written still to this day. If you're a fan, or you just like really well-produced live death metal, both of these should earn a place on your shelf.

Verdict: Win [7.75/10]

https://www.obituary.cc/

Monday, March 11, 2024

Obituary - Slowly We Rot: Live & Rotting (2022)

Slowly We Rot: Live & Rotting is one in a pair of special concert presentations released on physical and digital media through Relapse records. Having seen Obituary a number of times through the years, I can attest that whatever inconsistency their studio output might have brought me, this is an arena in which they are quite good, translating their simplistic, evil old death metal into roiling entertainment, fit for a crossroads of extreme music audiences what with all the grooving and moshing potential. This live album, I am happy to say, captures the experience with a professional sound, without going too far into an over-mixed or over-polished territory. In fact, I'd take this over the vast majority of the studio albums they've put out across the decades beyond 1990.

The material is mostly presented in the order of the original album, with an ominous stage intro and then an extended title track at the end. The lineup is the same as it has been since Inked in Blood, with the three original members joined by scene veteran Terry Butler on bass, and second guitarist Kenny Andrews, but it might as well just be the whole original studio incarnation, because it does the debut album great justice. The guitars are soaked in distortion, making the rhythm crunch just as evil as it did 30+ years ago, while the leads sound like whipping, spontaneous serpents that scream out into the atmosphere over the tight performances of Butler and Donald Tardy, both of whom sound excellent. The bass is really thick and the drumming feels even more intensive than on the studio version, and it all ends up pretty much flawless. John also sounds great, his trademark growl might miss a syllable or two, or at least it felt that way, but it's still got the same gruesome sustain to helm the band whether they're blasting away or settling into one of their swampier grooves. It's difficult to pick a favorite among the main tracks here, because each is delivered with precision and care for an audience that must be psyched to see this.

There isn't a lot of fan interaction, or noise, it's all pretty slick, and they've added a couple of later songs to lengthen out the set and release; they aren't really necessary, like "Redneck Stomp" from the crappy Frozen in Time album, which is just as dull here as the original, and "A Dying World", which was a single they put out as part of an [adult swim] series a few years before this. That's not an impressive tune either, but it's much more energetic and fun than "Redneck...", and it's cool that it was included due to its scarcity. The best of the bonus tunes, however, is their cover of Celtic Frost's "Dethroned Emperor", paying tribute to the band that is unquestionably the hugest influence upon their own sound. To be honest, though, I would have been satisfied with just the Slowly We Rot material, it seems that presentation and the accompanying Blu Ray would be enough here, and a few of those later tracks drag it down a little. Overall, though, this delivers what it promises, an ageless performance of what many consider their best album.

Verdict: Win [7.5/10]

https://www.obituary.cc/

Friday, March 8, 2024

Metal Church - Congregation of Annihilation (2023)

Having now weathered the tragic passing of two of their most popular singers, Metal Church pressed on with the increasingly heavy and angry sound they had struck on the later Mike Howe records, once again flirting with a style we'd most associate with USPM, which they were both inspirational towards in their early years, and then ultimately found themselves embracing rather than watering down their sound as they often did throughout the 90s. Marc Lopes is brought on, another beast of a front man, who could embrace the style of David Wayne and Mike Howe quite well, while bringing his own spin on it. He'd already played on a bunch of the Ross the Boss records, which were impressive, and he slides right into the formula here; some have stated that this guy might be a little TOO over the top, and we'll get into that.

Congregation of Annihilation often sounds like Painkiller with David Wayne singing, and that can only be a good thing, brought out by a lot of the riffing patterns in tunes like opener "Another Judgement Day". They also do some heavier, chugging groove riffs to keep it a bit more modern and close to the belt, but for the most part this album has a lot of parallels to Priest of perhaps even some of the Halford solo stuff. Lopes doesn't sound quite the same as Rob, but he loves to inject a lot of one-line screams, so he's always bouncing back and forth between the mid-ranged, angrier pitch and then this shrill pitch which can often come across a little forced and tacky. That's not to say he isn't hitting the notes right, he is, if you've heard him with Ross then you know the guy has pipes, but it seems like he could have been managed better on a few of the tunes here so that that back & forth technique didn't feel so predictable; though to be fair, there are a couple screams he embeds in tunes like "Me the Nothing" which totally smash you. There's a natural feel to his voice that sometimes he's about to lose his breath or choke, but that's not always a bad thing. Otherwise, his middle range timbre is pretty awesome, certainly even trumping Howe in terms of viciousness, even if I don't quite like the voice as much as his predecessor. 

The rest of the band is just handing out a beating throughout so much of this, whether it's on the more obvious power metal thumpers or the most atmospheric pieces like "Me the Nothing" which sound more like an amped up, muscular take on the Tony Martin Sabbath years or maybe some Dio solo stuff. There's a good balance of bluesy, heavy grooves and thick palm muted passages which might not feel like some of their most creative material, but certainly propulsive and powerful, especially with the meaty studio punch giving by the mix. The drums are hammering along, the bass beefy and the leads are also pretty good here, although usually brief and not terribly adventurous. Though it's not perfect, this one definitely continues what for me is the strongest streak of Metal Church since the first two albums, and if they can rein in the vocals just a fraction, maybe get more ambitious with the leads and have a few more of the slower, atmospheric tunes to balance out the raging, we might still hear some magnum opus with this very same lineup.

Verdict: Win [7.5/10]

https://metalchurchofficial.com/

Thursday, March 7, 2024

Metal Church - From the Vault (2020)

Fortunately for us all, there was a little more in store with Mike Howe at the helm before the tragic event of 2021. From the Vault is not your proper Metal Church record, it's more of a compilation, but unlike so many such releases that prove entirely useless, this one actually features some new material. And what new materia! One of the fresh studio pieces here, the opener "Dead on the Vine", is among my favorite tracks that the band had ever recorded, just scorching and extremely well produced. As potent and angry as anything off of Damned if You Do, but a little more polished in the direction of XI. The others new tunes like "For No Reason" or "Above the Madness" are a little more hard rocking and balanced in pace, but still really good and Mike's voice is just off the chains as it was a couple years before.

If this wasn't enough great unreleased material, you've also got some extra tunes from the Damned if You Do sessions, like the cruising and crunching headbanger "False Flag" or the acoustic instrumental "432hz" which is quite beautiful. You can hear why a few of these were clipped from the full-length, but these two at the very least were worthy, and the mix on these is certainly full studio quality if a bit drier in overall vibe than something like "Dead on the Vine". The cover songs included here are also recorded rather well, and slightly unique choices like Nazareth's "Please Don't Judas Me", which is solid if a little silly when Howe puts some goofy grit into some of the verse lines; the others actually sound a little better, like the more metalized "Green Eyed Lady", but here Mike's vocals also get a little cringe. It's not that he sounds bad, just that the edge and venom to his style is a little overbearing in this context...then again, there are some lines where he harmonizes in the latter that sound pretty awesome, and the leads in that one are also quite nice. There are ADDITIONAL tunes from the XI era like "The Enemy Mind" which is also pretty good, and some new mixes ("Killing Your Time", "Needle & Suture") which also feel pretty lethal, though some of this is only on the digital version or the vinyl box set, not the core CD/vinyl.

Because that's not enough of a fan package for your time and money, there are also a couple of live songs, and they sound pretty clear from Japan, but they don't quite match the energy of the studio material and that's probably just because of the particular tunes selected. Mike sounds alright but some of his higher pitched screams are a little much. Regardless, this is the worst that you're going to find on From the Vault, and it's a great complimentary tribute to the two prior studio full-lengths in terms of going back and celebrating Mike Howe's contributions when he rejoined the band. Had all the studio content here been mixed more fluidly as a third new studio effort with him, that might have been superior, there are a few distractions like covers or B-sides that don't live up to the rest, but overall this has at least an EP's worth of killer material that shouldn't disappoint you if you've enjoyed either of his tenure's with the band.

Verdict: Win [7.25/10]

https://metalchurchofficial.com/

Tuesday, March 5, 2024

Metal Church - Damned If You Do (2018)

XI might have benefited a bit from the 'look who's back' factor, but with Damned If You Do, Metal Church pull up their sleeves and put in the hard work with a record that sounds angrier, more confrontational, and decidedly more USPM than its forebears. In fact, this is one of the band's heaviest efforts to its day, due not only to the riffs and structures, but also Mike Howe had really settled back into his vocal role, and he dishes out one of his most vicious performances. It's this charisma and confidence that seeps through even the simpler of passages on the record, like the verses of "The Black Things" with their clean-tinted guitars, and makes even this track a beast. But he's not alone in this, because the guitars continue to spit out riffs that feel fresh for the band's catalogue, and this is clearly riding the wave of newfound creativity that the band had plunged itself into just a few years before.

That's not to say it's totally out of the ordinary for a veteran band that inhabits the hinges between heavy, power and thrash metal, but if you only had the first few Metal Church albums to go buy, you might not even think this was the same band outside of Howe's resemblance to David Wayne's style. These songs sound like the ravings of much younger men, brisk and savage yet still capable of integrating some more thoughtful uplifting melodies ("Revolution Underway"). The guitars and drums are really busy, and like a lot of their albums they've got a corpulent but cruise-controlled bass presence to support them. Leads aren't overly developed, they just sort of burn out bluesy progressions where appropriate, and in general I felt like this album wasn't as glossed up as XI was in the mix, so there's more of an appreciable level of power at their control. Just a little ugliness to complement the hostility and augment its authenticity. The record sounds great whether it's trotting along at a rapid pace ("Guillotine", "Out of Balance", "Into the Fold"), which it does ably and often, or if they chug along with a moderate headbanging ("Rot Away").

Damned if You Do is bittersweet, of course, because it would be Mike Howe's last record before taking his own life in 2021, which for an underground metal nerd like myself, who had been worshiping his work on Heretic's Breaking Point since that album came out over 30 years prior, was pretty devastating. For my money, though, he left us with one of his most intense records, easily the best I'd heart him sing on in all that time, and arguably his best technical performance, with a lot more catchy harmony hooks and screams than I might have expected from XI before it. This is one pissed off and effective record, and for my money the best Metal Church material outside of the first two discs. It might not achieve masterwork level, and let's face it, the band probably won't ever grace us with an Operation: Mindcrime, Hall of the Mountain King or Master of Puppets, but you can't ever question their persistence and loyalty to the genre that broke them...persistence that would outlive even the aforementioned tragedy.

Verdict: Win [8/10]

https://metalchurchofficial.com/

Monday, March 4, 2024

Metal Church - XI (2016)

It might not be the prevailing opinion, but Metal Church is a band that never quite amounted to much for me beyond their first two albums, both of which I consider, if not masterpieces, then classic American heavy metal records which have withstood the ravages of time quite fine on their own. Since that point, though I've struggled with so much of their output...it's very often adequate, but just never blowing me away as I would have liked if that initial trajectory held true. The original Mike Howe run, while decent, never impressed me as much as his work with power/thrash outfit Heretic on Breaking Point, but he certainly had that similar attack to David Wayne with the inherent edge and anger to his performance; the songs just were not there for me. So having him return to the lineup some 20+ years later seemed like it couldn't hurt, because they hadn't exactly been knocking it out of the park in the interim, why not give it another go with their second most popular frontman? 

I was pretty satisfied from the first singles, because the reunion definitely works out in their favor. This is not the stuff of the eponymous debut or my favorite, The Dark, but it's hard enough hitting where it needs to be, and the band in general sounds more fired up than on the albums leading to it. The riffs are fairly creative, at least within the band's own canon, and they try to incorporate a bit of a modern groove or edge with some of the palm muting parts that keep it from sounding too forcibly nostalgic. Mike sounds just like he left off, in fact I think his performance here is superior Blessing in Disguise, with that harrowing decay to his sustain that feels angry and unique. Not exactly melodic and never as screamy as he might have been when he was younger, but that character to his style is in full effect, and he still to its day sounded like the most natural successor to Wayne. It just helps a lot that he's supported here by songs from Vanherhoof and company that leave a little visceral impact, that show some effort where a few of the albums between the two Howe eras were slightly lethargic or phoned in. There is an enthusiasm and virility here across all instruments that seems to concur with Mike's return.

The production is super clean here, and though it doesn't necessarily do the material any favors, and if anything creates a drier atmosphere, audio purists will really love the clarity of the bass, the acoustics, the beats and vocals and who can blame them. These tunes don't always end up with the catchiest of chorus parts, but at least they are striving for that, culminating with "Killing Your Time", "Sky Falls In" and the lumbering "It Waits" with the cool effects, shining if minimalistic synth lines, and searing chorus line. But really, there's nothing I feel compelled to skip when I'm revisiting this one, all the material holds at least some modicum of consistency and quality, and I remember at the time being happier with XI than I had been with any of their other albums since 1986. I STILL feel that way, though I've overall cooled on the material slightly since it's release. A good Metal Church record, and a worthy reunion, with some explosive potential for moving forward.

Verdict: Win [7.5/10]

https://metalchurchofficial.com/