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After a 5 year break, Metal Church is back with Generation Nothing released from Rat Pak Records. To start with, Metal Church has always been among my top bands list although I lost interest in the band for the last almost 20 years. In fact, my latest favorite release was Blessing in Disguise released in 1991 and the last high-class release was, I believe, Hanging in the Balance released in 1993. So, although I think Metal Church has been one of the major cornerstones of US Metal, their production for the last 20 years were not very impressive.
This is their 4th release with Ronnie Munroe and I sometimes get the feeling that he is trying too hard to get close to David Wayne’s voice. Also, the fans can see a bit Flemming Rönsdorf (ex-Artillery) and the legendary UDO, in his vocals. As a huge fan of David Wayne, I also loved Mike Howe, who had a very different style than Wayne. And I believe that, David Wayne was David Wayne and a resembling voice will not add value to Metal Church. I wish Munroe did not sing in a David Wayne-ish style. However, I also have to admit that, this is the best performance of Ronnie Munroe in his Metal Church career. He also contributed to the production with lyrics in 4 songs. And as usual, the mastermind is Kurdt Vanderhoof who is left as the only original member.
To go through the album; first of all, I found the album a little lame and too straightforward! The thrash here is always fast and never loses tempo. However, despite the aggressive and uncompromising thrash sound, the album lacks catchy riffs and melodies. Most of the songs just play in the background and you don’t stop and say “hey, this is great”. I believe the songs are just average thrash songs which we can hear from some newcomer NWOTM bands. Of course, I wish to hear more from Metal Church with great musicians in the line-up.
My frustration gets bigger after hearing “Noises in the Wall”…but this is in a positive way. This song is truly epic, by far the best track of the album and can be listened over and over again, taking us back to the glory days. This is what frustrates me; they can still write songs like this but only one hit in album is not so well. Of course, there are some other good songs like; Bulletproof, Dead City or Scream. But, as I said before, this album does not hold space in your memory, it just streams…
And…one more critic is for the cover; I think album covers is a vital part of this music and the cover art should reflect something from the Band or album. The album cover is really poor and does not give anything about the spirit of the music.
Rating is 60 out of 100 but still don’t miss Noises in the Wall; this album is worth buying even just for this song.
Back with their first in five years, Metal Church has returned. Promising a throwback to the days of The Dark, where Kurdt Vanderhoof and the gang opted for a pugilistic approach, I can say from the get-go that the promise has been somewhat met, in the sense that this is very much an energetic, up-tempo release. However, anyone expecting a true eighties Metal Church album would be best served to sticking with their tried and trusted classics.
Metal Church to me, were at their finest when releasing albums with the sublime voice of Mike Howe helming, and I honestly rarely venture into the book-ending releases with David Wayne and Ronny Munroe. As such, and the point I’m wanting to get across here, is that this isn’t really my Metal Church; what with the Ronny material for the most part having left me cold over the years.
So, with formalities out of the way, let’s get down to business aye? I’m going to say straight away, that I genuinely like this release. Expectations weren’t exactly reaching to the sky with Generation Nothing; I mean, look at the album cover, it makes Hanging In The Balance look like the Mona Lisa by comparison. Even the album title itself evokes serious images of stale dad metal. Thankfully Metal Church set their amps to eleven, burn their energy to boiling point – with Ronny particularly delivering the power - and for the most part serve up an honestly solid album.
Granted, I think some of the material is a little lacking in staying power, but on the whole Generation Nothing is enjoyable, and largely inoffensive (in the best sense of the word). Stylistically this is very much in touch with recent releases from their contemporaries Helstar and Megadeth, although maybe not as intense as the former or as hackneyed as the latter. The rhythms in general paint a picture not to dissimilar to the latters Youthanasia striking that distinct balance between heavy and thrash metal. I’m not going to say the riffs will break your face here, but there’s some undoubtedly cool stuff heard in numbers such as the title track and “Suiciety” (hey, Realm called).
If ever the music might fall below par across the album, this being particularly evident in the soggy, misleading opening number “Bulletproof”, then it’s thanks to Ronny’s unhinged vocal approach that I stick around. Truth be told, I was never a massive fan of Ronny in the past, but here he really fucking hones it in and ensures my fingers are repelled from the skip button at all times. He’s unhinged, dripping with energy, and pushes towards his burning high range for the most part. When the band matches him, the album reaches its maximum heights, with “Noises In The Wall” being the prime example, as well as being the closest to the majesty of Blessing In Disguise.
Whilst I can imagine, and certainly understand that die hard Metal Church fans might find Generation Nothing to be wanting, I feel that as a stand alone metal album the band delivers. There’s a lot to enjoy here, and any negative aspects largely stem from comparison to what came before, and I guess some trite lyrics. For the most part though this is quality, give it a few listens before writing off, you might be surprised.
Originally written for http://www.metal-observer.com
I am not a man entirely immune to hype, so when I saw some advance praise for the latest piece of perseverance circa Kurdt Vanderhoof and Metal Church I got mildly excited. Could it be the first record I've really enjoyed by them in 27 years? In retrospect, I probably shouldn't have gotten my hopes up, because I just haven't been hot on any of the material they've put out since. Sure, most have ranged from 'alright' to decent, and they've not betrayed us with a Load or Risk or Virtual XI or anything scraping the barrel's bottom quite so hard. But at best, their efforts with Mike Howe and Ronny Munroe have been decidedly middle of the road. Once in a while: confusingly overrated. Metal Church has played the law of averages for far too long, and Generation Nothing is just Nothing Special...hell, I'd trade it all to be hit with a "Ton of Bricks" again.
I guess you know not to expect much when a record has such underwhelming digital cover artwork that you pine for the days of tightrope walking viking dames and guitars sitting in fucking smoke...or when the lyrics to the first tune ("Bulletproof") seem to be at least partially hinged on the deflection potential criticism the band or persons within might receive, 'I don't care what you think' type stuff, which is always hypocritical, because if you didn't, you wouldn't have written a song about it (ask Nas and Kanye West). I might be reading too much into that, of course, and it's possibly something more personal or specific in nature, but after the band's breakup and inevitable reunion it just comes off that way. Lyrics, however, are not really the problem with this album, nor is Ronny Munroe. He's his usual qualified self, a more polished alternative to the grating screams pioneered by Bon Scott and Brian Johnson and then cranked up a notch by Udo and Ronny's own predecessor David Wayne; and he's also responsible for the majority of the genuine energy on this disc.
Oh, the rest of the band plays at a youthful intensity across the ten tracks, seemingly recharged in the five years since This Present Wasteland, but the issue here is one of tremendously uninspired riff progressions that in almost every case go nowhere interesting. Variation and pacing isn't in question, because there's a decent range of material. "Dead City" is reminiscent of the late 80s/early 90s Megadeth slowed to a more controlled clip, where "Generation Nothing" itself has traces of modern Maiden interspersed into the classic Church edge. Must say that the lyrics to that title track were pretty cheesy, another of those critiques of the current 'video game generation' that seem a little trite; I mean, if the shoe were on the other foot, what would those kids say about a bland heavy metal record by a bunch of veterans who should be capable of far, far better? Don't get me wrong: Generation Nothing is a more productive life pursuit than another round of Call of Duty 4, but it's hardly all that creative, and this is just another of those topics that seems desperate, like Metal Church doesn't have anything more interesting to write about: it's 20-fucking-13...scathing indictments of couch potatoes were already exhausted by the 90s, dudes.
Really, though, most of the riff and chord choices on this disc are so vapid that Ronny could be singing about the weather for 53 minutes and it wouldn't make much of a difference. Aesthetically, Generation Nothing is quite loyal to all the prior records...an evolutionary fixture between thrash-lite Metallica and trad metal stuff like Priest, Purple and Krokus with some rhythmic nods to NWOBHM. It's not even until the middle of the record that you get anything bordering on a decent melody, but too rarely do they persist through the entire songs so it's always an exception to the rule. Without exception, the harder the band hits, the more entertaining they become...especially on a tune like "Scream" or wherever Munroe starts screaming to the point that it reminds me of Flemming Ronsdorf on Artillery's masterpiece By Inheritance. Unfortunately this is just too rare, too late, and when deconstructed even the riffing in these songs seems predictable and drab. The playing is pretty tight all around...except the clean guitar passages which seem colorless, but I'm just not hearing that mesh of killer vocal hooks and timeless rhythm guitars that defined The Dark.
Production has a good punch to it that compensates for the lack of thicker, saturated distortion to the guitar. Like their other popular post-80s works (Hanging in the Balance), you can tell they're definitely intent on sticking to that more classic metal appeal, but at the same time Generation Nothing seems to feel dry. The album holds together even at high volumes, but there's just not a lot of depth to the bass-lines or drumming to help round out those lukewarm riffs, and apart from Munroe it never feels like anyone is pushing himself to any limit. Musically and thematically, this is largely complacent and boring, and I'm just not the type to cry FUCKIN ACE MAN just because its another reunion record from a familiar logo. Hell, listen to the riffing brilliance on the new Satan or Attacker efforts, or the atmosphere on the latest Warlord. There's a lot of juice and creativity left in many of these once-forgotten 80s metal icons. But the simple truth is that Metal Church, no matter what the lineup, is superior to what they have released on this disc. It's not terrible, and there are a few bright spots, but Generation Nothing should be nothing BUT...and in the end, I've taken less away from this than anything they've done since The Human Factor...actually, less than even that.