The Evil in Good

Though ideologically different, thrash metal and punk (particularly of the hardcore variety) have a lot in common. Both rely on speed and aggression and both tend to tackle political/social/economic subject matter. However important things, technicality and atmosphere among them, draw a pretty clear line between the two, suggesting that they’d be better off as separate entities. Despite this, there are plenty of bands out there that have managed to mix punk and thrash and not royally fuck it up, Nuclear Assault and D.R.I. most quickly springing to mind, though there are plenty more that should have kept their intentions on the drawing board. I wouldn’t hesitate to add Mace to that list.

I would describe Mace as one of the many, many punk-inspired thrash outfits of the mid-80’s if the balance wasn’t so unfavorably tipped towards their influences. Mace want you to see them as a thrash band, and maybe they even believe that they are, but though they proudly wear their brand-new Exodus t-shirt, I’d bet any money that there’s a worn, dirty Dead Kennedys cutoff underneath. Their second and final album The Evil in Good is essentially a hardcore punk album with a thin, crispy outer shell of thrash. They got the speed and noise solo parts right, but the core of the album is rooted in punk. They have the bouncy bass riffs, minimal, poorly produced drums, short arrangements, goofy humor and overemphasis on political discontent of your average punk band and they perform them just as averagely. The rhythm guitar is heavily distorted and low in the mix, and since the riffs mostly consist of grinding power chords, it comes off as a slow rrrr beneath the bass and constant shouting of Kirk Verhay, whose voice could be compared to Paul Baloff if Verhay actually gave a damn about his performance. So yeah, total punk outfit. I mean, just look at that cover art…

The good in Mace’s effort? Some nice acoustic bits come out of nowhere, entertain briefly, and then depart (presumably back to nowhere). The evil in Mace’s effort? They’re sloppy, un-heavy, underproduced, and their songwriting is castrated; that last one being the most egregious. There are numerous interlude bits that come into play throughout the album (often using a cheesy distorted voice copped from Metal Church’s “Beyond the Black”) that are as annoying as they are purposeless. Opener “Gutripper” is one of the few cases where something grabs your attention for longer than a moment (the chorus particularly), but the first minute or so is one of these skits. And when they aren’t playing with techno-horror themes, they’re beating the punk manifesto further into the ground, such as in the title track, a mockery of hatemonger Jerry Falwall who, despite being more than worthy of open derision, is just too easy a target. Who’s next on their list, Ronald Reagan? When they finally do tread new ground, it’s in the form of a very awkard cover of that “War” song from the 60’s that no one needs to hear.

Those with strong punk leanings might find Mace quirky and likable; thrashers will probably find them shallow and amateurish. But at just a lick past the 28 minute mark, everyone will be able to agree that The Evil in Good is way too short to warrant their hard-earned dough.