Through thick and thin, triumph and catastrophe, Metal Church has defied the odds to endure. Their fourteenth studio album, “Dead to Rights”, stands as a powerful testament to their longevity and an undeniable masterclass in adaptation.
The guitar duo of Rick van Zandt and Kurdt Vanderhoof remains as dependable as ever, delivering razor-sharp riffs and rapid-fire solos. Meanwhile, the newly minted rhythm section, featuring former Megadeth bassist David Ellefson and powerhouse drummer Ken Mary, provides a lethal level of precision. Front and center is new vocalist Brian Allen, who fits the line-up seamlessly. Allen effortlessly makes himself indispensable, channelling both the gritty bite of the late David Wayne and the soaring, melodic fury of the also recently departed, Mike Howe.
The album opens perfectly with “Brainwash Game” offering a barrage of double-bass drumming and razor-sharp riffs. While the intro bears a faint resemblance to Judas Priest’s “Rapid Fire”, the track quickly takes on a life of its own, mainly driven by Allen’s manic vocal delivery.
“F.A.F.O” (Fuck Around & Find Out): The album’s lead single goes even harder. Delivering pure sonic dynamite, the track feels like an Accept banger played at 45 RPM to create an instant anthem.
The title track, “Dead to Rights”, is a sprawling, six-minute mid-tempo epic, that channels the crushing heaviness of the band’s own “Blessing in Disguise” era mixed with “…And Justice for All”-era Metallica. One specific riff even feels like a direct cousin to “Blackened”, but the band wholly owns the space as Vanderhoof and van Zandt trade some superb solos over Ellefson’s mean, dominant basslines.
“Deep Cover Shakedown” maintains a similar trajectory, leaning into an even heavier, stomping groove. A beautifully melodic guitar solo arrives just in time to keep the rhythmic weight from becoming monotonous.
“Feet to the Fire”: This anthemic, highly syncopated track showcases spectacular drum fills from Ken Mary. It’s incredibly catchy, melodic chorus provides a brilliant contrast to the heavy instrumentation.
“The Show” is a track that is a bit like an avalanche, gathering almost unstoppable momentum as it lunges forward. Despite a structural break similar to the previous track, its superb dynamics culminate in a torrential, full-circle guitar solo.
“Heaven Knows (Slip Away)” initially hints at a timider approach, but the hesitation is short-lived. Allen’s over-the-top, screaming delivery transforms the track into an enjoyable, upward-charging mid-tempo rocker.
“No Memory” is heralded by a remarkably strong riff, and a rare, rather reserved vocal delivery from Allen during the verses. While the album begins to lose a bit of steam here, the track remains highly engaging, anchored by one of the finest, most tasteful solos on the record.
“Wasting Time”… the first clear sign of mid-tempo fatigue appears here. Despite a solid chugging rhythm, a great solo, and Allen’s best efforts to keep the energy high, the songwriting feels a bit too spartan compared to the powerhouse tracks that preceded it.
However, “My Wrath” instantly picks up the slack. Following a classic rock-meets-metal intro, the band kicks into high gear on a song that feels like a spiritual successor to a song Accept never really penned, called “Not quite as fast as, ‘Fast as a Shark’, but pretty damn close”.
Depending on the version of the album you pick up, the record closes with a choice between five distinct bonus tracks:
US Editions get “Blood & Water”, a fairly heavy, straightforward but atmospheric metal closer, while European ones get “Yesterday Begins”, which is slightly more melodic but equally heavy. The vinyl edition loses a song from the physical medium and instead adds it to a download along with “No Going Home” and “Wake Again” respectively a moody, groove-heavy number and an atmospheric track that flirts with ballad territory before briefly flashing its fangs. Last but not least, Japan gets “Coming for You”, a chugging monster of a track that echoes the mid-tempo grit of Tim “Ripper” Owens-era Judas Priest.
“Dead to Rights” is a fantastic return to form and a surprisingly cohesive output from such a heavily revamped line-up. It proves that Metal Church possesses a rare resilience, ultimately revealing a band that is far greater than the sum of its parts. No matter how you slice it, this is one of the finest albums to arrive under the Metal Church banner in quite a long time.
