Few bands from the early American metal movement have remained as resilient as Metal Church. Through countless lineup changes, long periods of uncertainty, and even the relatively recent, tragic loss of Mike Howe, they have continued to release records with admirable consistency. “Dead to Rights” extends that run, introducing a refreshed lineup featuring veterans Dave Ellefson and Ken Mary. On paper alone, the new additions are enough to raise expectations, while new vocalist Brian Allen (Dark Arena, Trauma) immediately completes the picture. From the opening moments of “Brainwashed Game”, Allen quickly puts any concerns to rest, delivering a performance that feels both unpretentious and authentic to the band’s legacy. The album builds on the slightly more aggressive direction of its predecessor, but with a stronger sense of conviction, making that approach feel more complete this time around. The performances are tight throughout, with riffs and transitions thoughtfully arranged. Lead guitar parts wisely serve the songs, while the familiar vocal lines occasionally take unexpected turns that settle more naturally with repeated listens. Nothing feels forced, even if few moments are designed to grab the listener instantly. “F.A.F.O” and the title track establish the album’s direction with confidence, before “Feed the Fire” slows the pace, bringing strong Black Sabbath and Judas Priest vibes. “The Show” and “No Tomorrow” reinforce the band’s familiar balance between melody, weight and classic American power/thrash, while the closing “My Wrath” opens with a riff that brings Megadeth to mind, before settling back into Metal Church territory. If “Dead to Rights” has one noticeable weakness, it lies less in the songwriting than in the production. It’s clean and balanced, but also smooths out some of the dynamics that help individual songs immediately stand apart. That can make the album feel more uniform on a first listen than it actually is. As a result, it may not reveal its strongest qualities on a first listen, however, those willing to return will discover a collection of songs with far more personality than that first impression might suggest. Metal Church aren’t trying to reinvent themselves here, nor do they need to. Instead, they deliver another confident, well-crafted record that respects their legacy while proving they still have plenty to offer. It may not rank among the band’s defining classics, but it’s a satisfying release that longtime fans should appreciate, while also suggesting this lineup has every chance to deliver even stronger results in the future.
♦ 7,5/10
Tasos Bouhoutsos
