Metal Church is one of those bands remembered with affection for their great classics, which, while not commercially successful, are a gem for every Rock and Metal enthusiast. Today, we talk about the 1984 self-titled album “Metal Church,” a classic that, in its time, was groundbreaking for deploying a very peculiar sound, with the band’s characteristic signature.
“Metal Church” was initially released independently and later acquired by Elektra Records for broader distribution. Terry Date took care of the production, who has also collaborated with legendary bands such as Pantera, Korn, Overkill, among others.
What can we hear?
A sound that is extremely grounded and 100% analog, Metal Church is heavy, but it maintains the hallmark of Classic Heavy Metal, surrounded by distorted guitars in a Punk style and song structures where vocals and guitars share the spotlight.
The rhythm section empowers this album, featuring a tightly-knit bass and drums with a very “Rock” style. The drums, in particular, sound very precise and perfectly set to resonate in the production. The harmonies are dark and heavy, complemented by the incredible voice of David Wayne, undoubtedly influenced by great vocalists like King Diamond and even Brian Johnson of AC/DC. Wayne’s vocal arrangements range from falsetto to the beginning of growling, demonstrating a high but balanced vocal range, as heard in “Battalions.”
The guitar solos are very interesting, with influences from Iron Maiden, especially in “(My Favorite) Nightmare,” which starts with a series of harmonies and culminates in an energetic and splendid solo. Craig Wells’ work on the main guitar is dynamic, and his tempo and texture changes (distortion and clean guitar) are enjoyable and diverse.
Relentless speed metal…
The album is fast and relentless, with a double bass drum characteristic of Speed Metal or Power Metal, as heard in the instrumental piece called “Merciless Onslaught.” This track combines different metal genres, from Heavy to Thrash, Speed, and even Mötorhead’s iconic style, especially on their album “Overkill.” The album takes a breath with “Gods of Wrath,” where clean, ballad-like guitars are accompanied by a much calmer voice, exploding with pure Heavy Metal energy in its chorus.
The band pays homage to several of their musical heroes, and their influence is undeniable. However, despite this, Metal Church managed to consolidate its sound throughout the album, thanks to David Wayne’s vocals and Craig Wells’ riffs. We could categorize them as the stream that followed the classic Heavy Metal of Judas Priest or Black Sabbath.
During the time this album was released, Thrash Metal was in its infancy. Thus, Metal Church deserves credit for not following the trend of the moment but rather making the music they truly wanted. This might also be attributed to their lack of massive success.
A golden finish to their self-titled album…
Metal Church concludes with “Highway Star,” a cover of the legendary British band Deep Purple. They managed to make it exceedingly heavy, creating a version very much in their style that gave the song a special energy, making you want to listen to it over and over without getting tired, accelerating its tempo to compact the song.
The album is enjoyable from start to finish, with excellent production. You can even hear its “slow” sound on analog processors during recording and mixing. Undoubtedly, a classic that is not well-known on a massive scale but is worth listening to for its great quality.
What do you think of this album? Share your comments!
