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And the snare says "click click" - 66%

Felix 1666, December 3rd, 2016
Written based on this version: 2003, 2CD, Nuclear Blast (Limited Edition)

Destruction, the high priests of German thrash return with their studio album number 178. Or is it already their 179th release? I don't know, yet I swear that the band has published a lot of better full-lengths in the 20th century. Believe me, I wanted to be fascinated by the new album of my old heroes. I said to the songs "catch me if you can". Honestly, I was never an athlete and I did not even try to run away. But the compositions just shrugged their shoulders.

Destruction appears as the prime example of a band that runs slowly but steadily out of ideas. Somewhere between "All Hell Breaks Loose" and "The Antichrist", the band lost its recipe for the creation of gripping thrashers. "Metal Discharge" prolongs the series of faceless tunes that fail to evoke any emotion. The soulless production with the clicking snare celebrates a triumph of the then modern age and deprives the band of its roots in a more or less radical manner. There is still a small number of good songs and the album does not make me angry or totally depressive. However, Destruction descend from a very high tier, but they descend rapidly and listening to "Metal Discharge" is a relatively frustrating experience. There are no songs between "The Ravenous Beast" and "Vendetta" that are able to challenge the old classics. Even semi-legendary songs of the second row, for example "Reject Emotions" or "Life Without Sense", remain unaffected. Just lend an ear to "Mortal Remains". The noisy vocals try to ruin the songs (and they are successful), the guitar lines are not clearly defined and there is absolutely no part which leaves a lasting impression. One listens to the track more or less closely, but it is forgotten as soon as it has come to its end. Destruction do not surprise with a new musical direction, but they just do not know any more how to kill with style. I can understand that the guys have lost some percents of the juvenile energy that propped up "Total Desaster" or "Invincible Force", but I am not able to explain the lack of deadly piercing riffs that ennobled later works like "Frustrated" or "Machinery of Lies". Yet it is true: lacklustre guitar lines fall in love with emotionless solos and confused choruses fail to score with forcefulness. The typical mix of high speed parts and mid-tempo sections causes nothing else but a stale taste. Schmier, what is wrong with you? Tommy, are you sick? Well, the guys don't give an explicit answer, but from my point of view, they need a doctor. Urgently.

After having listened to nine tracks of the album, "Vendetta" is in a comfortable situation, because the audience is more or less disillusioned. Maybe this is the reason why the closer shines with its pretty ominous aura and the slightly menacing chorus. This is not a killer track that drives me wild, but it marks a surprisingly strong closer. With regard to the ferocious, straight and strong opener "The Ravenous Beast", one could say that "Vendetta" completes the circle. Yet my edition offers an extra time. Three pretty useless cover versions form the first half of the second disc. The opener reveals the fact that Schmier's vocal chords are Maiden's "Killers" are not compatible. "Whiplash" sounds like an own composition - that's how it goes if you use a song of your idols - and "USA" (Exploited) makes clear that Schmier cannot hold a candle to old filthy Wattie in terms of performing punk songs. And, by the way, love or hate the USA, but a chorus like "F**k the USA" is painfully general and should be forbidden. The second half of the bonus disc consists of four demo tracks which impressively demonstrate why the band chose other versions for the official releases. Let's drop the subject. A world without ambivalent works like "Metal Discharge" would be a world worth living, too.