Metal Church Albums (10)
'This Present Wasteland'
Release Date 9/23/2008
Tracks 10
Label Steamhammer
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What The Critics Say
It is no exaggeration to say that Metal Church has been a revolving door over the years. The Pacific Northwest outfit has had quite a few lineup changes along the way, which is not unusual for metal bands -- and on 2008's This Present Wasteland, guitarist Kurdt Vanderhoof is the only person remaining from Metal Church's original early-'80s lineup. All of the other participants are 2000s arrivals, including lead singer Ronny Munroe, guitarist Rick Van Zandt, bassist Steve Unger, and drummer Jeff Plate. But here's the good news: with Vanderhoof obviously in the driver's seat, this 2008 edition of Metal Church is quite faithful to the spirit of Metal Church as they sounded in the '80s. Sure, some longtime fans might argue that without the participation of Craig Wells, Duke Erickson, Kirk Arrington, or the late David Wayne (who died in 2005 from complications resulting from a car crash), the band that Vanderhoof oversees on This Present Wasteland isn't really Metal Church. But in fact, Vanderhoof sees to it that the classic Metal Church sound of the '80s -- a tough and hard-driving yet melodic mixture of Dio, Judas Priest, Deep Purple, and Iron Maiden -- is alive and well on engaging tracks like "Breathe Again," "Monster," "A War Never Won," and "The Company of Sorrow." Munroe (the band's fourth lead vocalist) is perfect for Metal Church, and he fits right in with a gruff vocal style that owes a lot to Ronnie James Dio, David Coverdale, and Bruce Dickinson. This Present Wasteland falls short of essential, but it's a solid and well-executed effort that underscores Vanderhoof's ability to keep the Metal Church of 2008 faithful to the spirit of Metal Church as they sounded 20 years earlier. ~ Alex Henderson, All Music Guide
What The Critics Say
Throughout the career of Metal Church, guitarist Kurdt Vanderhoof has always been considered the leader of the band, and their 2006 release A Light in the Dark, proves it once and for all. Being the only original member left in attendance by this point, Vanderhoof knows exactly what Metal Church fans look for in each release, and on their ninth release overall, the group plays largely by the rules. Despite the absence of familiar faces, the sound is unmistakably Metal Church -- Vanderhoof can still riff with the best of 'em, while singer Ronny Munroe and drummer Jeff Plate sound almost precisely like original members David Wayne and Kirk Arrington, respectively. Turning a blind eye to modern-day metallic trends, A Light in the Dark could easily be mistaken for a thrash metal release of the '80s -- back when Master of Puppets was turning the metal world upside down -- as evidenced by such tracks as the album-opening title track and "Beyond All Reason." And closing the album is a re-recording of Metal Church's best-known track, the eerie "Watch the Children Pray," which is dedicated to Wayne (who passed away in May of 2005) and sticks closely to the original recording. ~ Greg Prato, All Music Guide
'The Weight of the World'
Release Date 7/22/2004
Tracks 10
Label Crown Japan
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What The Critics Say
Ah, Metal Church. Once one of America's most promising heavy metal bands, originally colleagues (rivals, even) of the mighty Metallica -- has any other band's career been as marked by internal chaos, confusion, and, let's face it, commercial indifference, as that of these Seattle natives? The odds are slim, and yet, conversely, has any metal outfit proved as doggone persistent at the same time? Surely that must count for something, and with the realization that 2004's The Weight of the World amazingly celebrates the group's 20th anniversary (even though it's only their seventh studio album in all that time), there's at least some cause for celebration -- right? Well, if truth be told, that'll depend on the listener. Most of the expected Metal Church trademarks (pure American metal charged with occasional thrashing nuances) are readily available here -- as are the band's maddening tendencies for songwriting inconsistency, matching every memorable turn like "Hero's Soul" or "Sunless Sky" with an equally forgettable outing like "Wings of Tomorrow" or "Bomb to Drop." Never mind that original vocalist David Wayne has once again departed from the fold (after taking part in the nearly-complete classic lineup reunion seen on 1999's Masterpeace) and left lone remaining founders, guitarist Kurdt Vanderhoof and drummer Kirk Arrington, to pick up the pieces; new recruits Ronny Munroe (vocals), Jay Reynolds (guitar) and Steve Unger (bass) acquit themselves ably enough, for the most part. If anything, the only weak link is Munroe, whose echo-enhanced presence is curiously reminiscent of Saxon's Biff Byford, but doesn't always have the power or presence to match the surrounding onslaught. And still, longtime supporters will most likely enjoy almost all of the songs they hear here as prototypical Metal Church -- which leaves less enthusiastic old-timers and new arrivals alike left to ponder what all the fuss was about. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
In the wake of Metal Church's artistically successful comeback album Masterpeace, Nuclear Blast issued Live, a concert album recorded in 1986 while the band was touring in support of their second album, The Dark. As such, it features the original lineup and much of the most popular material from the group's first two albums, as well as the odd cover tossed in for variety. It's not essential, but it is an interesting document that fans will probably want to hear. ~ Steve Huey, All Music Guide
What The Critics Say
Metal Church actually sound more focused on the comeback album Masterpeace than they did on their last record, Hanging in the Balance; part of the reason may be an increased energy level due to the fact that this original lineup had not played together in over a decade. The record doesn't really break much new stylistic ground for the band -- one might say it even regresses to their mid-'80s style, before David Wayne departed -- but that's not the point; this is classic-style power/speed metal done pretty well by one of the genre's better bands. ~ Steve Huey, All Music Guide
'Hanging in the Balance'
Release Date 10/7/1993
Tracks 11
Label Blackheart
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What The Critics Say
There's often a fine line between hard rock and heavy metal, but with Metal Church, there was never any doubt -- they were always very much a metal band. When major record companies were quick to sign faceless Warrant clones and Poison imitators, Metal Church stuck to its guns and never lost its integrity. After five or six years with Elektra, the headbangers moved to Epic with The Human Factor. Much of the writing is quite substantial, and Metal Church tackles social and political subjects with inspired results on songs ranging from "Date with Poverty" and "Flee From Reality" to "The Final Word" (which addresses the flag-burning controversy of 1991 and asserts that the U.S., whatever its faults, is still the best place to live). The Human Factor shows that Metal Church was an exciting band, and certainly one of substance. ~ Alex Henderson, All Music Guide
'Blessing in Disguise'
Release Date 10/25/1990
Tracks 9
Label Elektra
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What The Critics Say
Perhaps the finest Metal Church release, Blessing in Disguise offers some of the best material in the group's long career. New vocalist Mike Howe joined up with the band for the recording of this 1989 Elektra release, replacing the departed David Wayne and bringing a burst of energy that the group used to create some of the best American underground metal of the decade. Metal producer extraordinaire Terry Date (White Zombie, Def Tones) dials up some fiery guitar and drum sounds adding an awesome sonic element to the group's fine arrangements and ultra-heavy riffing. Standout cuts include the massive and cathartic "Anthem to the Estranged" and "The Spell that Can't be Broken." Both cuts (as well as the rest of this release) feature excellent guitar work and an uncompromising allegiance to all things heavy that Metal Church continually gained respect for throughout the Seattle band's career. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Metal Church's excellent debut had impressed critics and fans alike with its ferocious blend of classic metal and thrash. But by the time they released its follow-up, 1986's The Dark, the band seemed to be struggling with their direction and wrestling with internal problems. The fact that they were collectively one of the most unattractive bands ever (even by heavy metal standards) didn't help matters either, especially in image-conscious America, so it was no surprise when the band's appeal remained firmly confined to the metal underground. Which is too bad, since The Dark contained some of the group's best material, including the brutal intensity of "Start the Fire" and "Method to Your Madness," as well as what was probably their best-known song, the astoundingly heavy epic "Watch the Children Play." Extensive touring with Elektra labelmates Metallica had also motivated the band to develop their thrashier inclinations, resulting in vicious moshers like "Ton of Bricks" and "Over My Dead Body." ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Much like the English punk movement before it, the New Wave of British Heavy Metal invaded hundreds of American garages in the early '80s and launched countless bands across the nation. It is interesting to note, however, that while in major cities with thriving punk rock this phenomenon manifested itself in the form of thrash metal (for example, L.A.'s Metallica, New York's Anthrax), in secondary capitals, up-and-coming bands generally boasted a more mainstream metal approach. Such was the case with Phoenix's Armored Saint, Connecticut's Fates Warning, and Seattle's Queensryche, but Metal Church (also from Seattle) seemed determined to cover both angles on their powerful 1985 debut. But while the complex songwriting and aggressive riffing seen on trad metal epics like "Beyond the Black," "Gods of Wrath," and "Metal Church" are about as good as it gets, thrashier moments like "My Favorite Nightmare," "Battalions," and the appropriately named instrumental "Merciless Onslaught" still needed a little work. In fact, the band's incredibly tight musicianship is a highlight all on its own, and vocalist David Wayne's piercing screech (similar to Accept's Udo Dirkschneider) was considered very hip at the time, believe it or not. Concluding with a full-throttle cover of the Deep Purple standard "Highway Star," this album remains an overlooked classic of straight-ahead American-bred heavy metal. ~ Eduardo Rivadavia, All Music Guide
