Shadowdoom9 (Andi)'s Reviews

Excessive Force was a side project created by KMFDM's Sascha Konietzko and My Life with the Thrill Kill Kult's Buzz McCoy. It should be noted that is before KMFDM started added more prominent metal elements, so all you can find from Excessive Force's debut is industrial rock/dance, sometimes close to house music, and it's only good hands of less heavy industrial fans. However, there's some of the heavy guitar groove and vocal distortion to go with the repetitive dance, and the best highlight for that is "Ride the Bomb". A decently great track from a sh*tty dance album that has blown me off instead of blown me away....

Favorites (only one song I like): "Ride the Bomb"

To be honest, I wasn't sure about giving this Strife album In This Defiance a listen and a review because their debut One Truth wasn't all that great and I even thought it was too hardcore to be metal, hence that judgement submission. But when I put this album on play, boy was I blown away! This is a higher, more metallic step from their debut, and it has just what I'm looking for from this band.

Yep, everything is at the right tone for Strife. This is a full tight metallic hardcore sound with brisk tempos. Rick Rodney has his hardcore bellowing skills that are often hard to understand, but at the same time, so compelling.

Beginning the album is a 3-minute "Intro" of horror movie sound effects that almost makes the album a soundtrack for such a film. Then after that, the wait is over, with "Waiting" blasting off with its metal/hardcore sound that bands such as All That Remains, 36 Crazyfists, Eighteen Visions, and Cave In can't do without. The hardcore force continues in "Force of Change", which actually has a bit of a Winds of Plague vibe in the riffing, though obviously not deathly or symphonic.

"Stand as One (Redemption)" has vague yet powerful lyrics in emotional focus ("Search inside and you will find the answers lie within the reach of those who try"). Same with "Grey", not identifiable but quite adamant ("The future is dead for many of those who have fallen refusing to let it go"). The amazing highlight "Will to Die" has a bit of a Black Sabbath kind of soundscape, with a few prominent guests assisting in the action; ex-Sepultura drummer Igor Cavalera, Fear Factory guitarist Dino Cazares, and most notably, Deftones vocalist Chino Moreno. Another compelling song here is "Blistered". Then "Forgotten One" adds a bit of mid-80s Voivod speed into their sound.

"Wish I Knew" has reminded me that I need a break from the modern poppy metalcore of Issues and We Came as Romans, so I can dive into more hardcore stuff like this. "To an End" is one of the most remarkable hardcore bursts ever. "Overthrow" would once again help the hardcore side of my metalcore taste overthrow the modern side of bands like Veil of Maya. The "Outro" is just 16 minutes of horror movie sounds just like the intro. I think they only added their so the album wouldn't be so short like just a half-hour.

Those pointless interludes don't affect the rest of this album perfection that makes In This Defiance an astonishing stunner. This is standard E-tuned thrashy metal/hardcore at its best. I'm glad to find the greatness of Strife!

Favorites: "Waiting", "Force of Change", "Stand as One (Redemption)", "Will to Die", "Wish I Knew", "To an End"

If there's one album that sealed the deal for a band's stylistic direction, it would be 1997's stunning brutal metalcore in Living Sacrifice's career, Reborn! The cathartic power of this genre was shining for the band ever since guitarist Bruce Fitzhugh started doing growling vocals.

Apparently, the band wanted to make an album with a unique sound unlike any other bands. The band released 3 albums before this with original vocalist Darren Johnson, the Big 4-inspired thrash self-titled debut and two Malevolent Creation-esque death metal albums Nonexistent and Inhabit. Reborn can indeed be considered Living Sacrifice's rebirth, taking on strong metalcore with a bit of their earlier thrash rhythm. Yeah, there is a bit of the Sepultura-like dark insanity within the uniqueness...

"Reborn Empowered" starts simple in the drumming, then sudden switches into blazing fast progressive-ish metalcore. Those growls and lyrics are just top notch, "Reborn empowered, all strongholds broken, old ways have died, given new life, boldness engulfs my every word, strength empowered by God, Jesus, the strength in Christ's name". Beginning the next track "Truth Solution" is another groove-ish verse and empowering lyrics, "Breath of God released faith, creates all life". Another track "Threatened" has acoustic strumming in different parts of the song while maintaining the heaviness throughout. "Awakening" is memorable in the groove and lyrical images, "Our spirits no longer reek of sleep, through prayer we've entered in the throne room".

"180" once again shows the band's 180-turn away from their earlier death metal while keeping a bit of the much earlier thrash rhythm. While the album has the groove-ish metalcore sound done in perfection, "No Longer" is the closest we have to a half-baked idea. "Something More" kind of give me a thrash-ish metalcore vibe of Annihilator meets Hatebreed. Introducing the next track "Sellout" is an acoustic intro that can make you think of Opeth.

"Spirit Fall" adds a little more progressiveness into their metalcore, though obviously it's a closer level to early August Burns Red than, say, ERRA. The classical-sounding (in terms of guitar) "Presence of God" is a simple interlude of improvisation to perform in worship. The most well-known track by Living Sacrifice that they still play in encores is "Reject", with lyrics about deception against the Lord, "Half truths, deceit, forced in, not God, reject all lies, reject all of the lies." Closing the album is "Liar", a song for Christ's battle against Satan, "Worthless, want to be God, loser imitation, fallen from grace, deceitful lying beast your bound, lord of maggots, we rebuke you."

It's sad that even one furious blast of metal can be considered Satanic. Some people need to be enlightened and realize that there is holy glory in metal, despite the brutality. Living Sacrifice should really has much fame as P.O.D., and this album Reborn is the reason!

Favorites: "Reborn Empowered", "Awakening", "180", "Something More", "Spirit Fall", "Reject"

In the 90s, Burst was in the metallic hardcore realm. The primal riff delivery laid the groundwork for the band's later sound. In a way, you can consider the band's 5 albums like the first 5 of Neurosis in terms of their stylistic evolution, starting hardcore before a more Infinite sound, except Burst's sound has a dissonant metalcore backbone throughout. This perfect offering stands out with a hardcore stampede of drumming, riffs, and shouts, all in a unique drive to level up my rediscovery journey!

Two Faced and their next album Conquest Writhe were made before bands Cult of Luna and Andromeda released their debuts, so they still didn't have yet the elements of those bands. With that said, Burst made grand progress in their debut with their songwriting and performing in unison. The quality is tight while in top-notch production, with solid crispy support of the bass and that metalcore backbone. Patrik Hultin might very well be a new favorite drummer of mine with his eclectic skills. His drumming is wilder than the guitars, in calculating alignment with the riff groove.

Once again, talking about many of these awesome songs here won't do them justice, so I'll just note the highlights such as the title track, which has a simpler direction than what they would have later, while more adventurous than many of the more traditional hardcore bands out there. There's some melody in the music while having the usual vocal aggression that would be lessened as the band progresses. "Callous" has a catchy formula that would be foreshadowed in the other album I've reviewed, Lazarus Bird.

"Crossbreed" has almost the same pace as the band Crossbreed (minus the industrial elements) but then evolves into the usual metallic hardcore that's almost as chaotic as Cave In and The Dillinger Escape Plan. I can also hear a slight taste of early August Burns Red in "Lifeline".

"Repentance" has a bit of the dark-ish melodic metalcore instrumentation that Prayer for Cleansing would have two years later. After 10 short songs, the final track "Cadence of the Faithless" is a 5-minute metallic hardcore monster epic. But if you stick around after 3 minutes of silence, you get a raw punky hardcore demo recording that seems like a waste after a real stable closer. It detracts from the album's momentum, but I can ignore it and just stay with the perfect 5-star rest of the album.

Two-Faced is the hardcore one out for this band's material, and they would start heading towards a different direction from Conquest Writhe onwards. This debut is a h*lla great beast, probably more metallic than Strife's debut. The enclosed tightness is dusted off by Burst in their most hardcore bloom!

Favorites: "Two-Faced", "Callous", "Crossbreed", "Lifeline", "Repentance", "Cadence of the Faithless"

Upon realizing that I've haven't listened to and reviewed this release from State Craft, I decided to do so, and... TO F***ING H*LL WITH THIS!!! This is just too weak for my metalcore standards, with only one decently good song here, "After This Morning", probably of how short it is. This sh*t ain't worth my journey. State Craft is so not for me....

Favorites (only one I remotely like because of length): "After This Morning"

Here we are again with State Craft, with me reviewing the first EP from perhaps the first Japanese metallic hardcore band. There's never any greatness in the vocals, choruses, and lyrics. To me, it just feels like an Unbroken ripoff that sucks a**, but at least they don't have yet the cheesy symphonics Temperance would have two decades later. Though the song "Break the Cycle" sounds good in the intro, which I like. F*** it, I have better metallic hardcore to listen to. Also that Windows XP wallpaper-like cover art is laughable....

Favorites (only one I even remotely like): "Break the Cycle"

Oh wow! This is a huge positive twist in my rediscovery journey. After a couple sh*tty demo EPs from other metalcore bands, here we have a perfect compilation of demos from this band Morning Again, worth money from the buyer. There are 7 songs in 30 minutes, and I almost think of Hand of Hope as a full mini-album. So great with lots of heavy tracks! So where I do begin?...

Morning Again are legends in the metal/hardcore scene. At that time, their frontman was Damien Moyal, a straight-edge vocalist who was also in Shai Hulud at that time. It's thanks to those two bands that the Floridian music scene has expanded to more than just death metal and *shudder* Backstreet Boys and Disney, paving the way for other metalcore bands like Trivium. Morning Again broke up after one official album, but they've since reunited multiple times and released a couple more EPs. However, Moyal moved on to melodic hardcore band As Friends Rust, and he remained vocalist for that band except for those 6 years when the other members performed as Salem.

Now back to this Morning Again release... The first song "Turning Over" rockets towards you with a metalcore blast. I think talking about many of these awesome songs here won't do them justice, so I'll just note the highlights such as the aforementioned opener. And oh yeah, we have the grand 6-minute epic "Minus One" that marks the perfect blend of beautiful and heavy. The last of the 7 tracks, "God Framed Me" continues the hardcore intensity of blending violence with melody.

I think I just found a new favorite vocalist in Damien Moyal, almost rivaling Converge's Jacob Bannon. Props to Morning Again for this incredible work! If you enjoy Shai Hulud and other metallic hardcore, surely you wouldn't wanna miss this. It's an album of hardcore insanity!

Favorites: "Turning Over", "Minus One", "God Framed Me"

As I continue my rediscovery journey, I've realized that I like the full albums more than most of the demo EPs. The Absolve EP sounds nice, but the production is jacked up in a bad way, which along with the overuse of samples in the beginning, doesn't make me up for it so much. "Bleeding" is the brutal highlight here, having a brutal Suffocation-like slam death metal breakdown. A f***ing crusher in a mostly f***ing bland trash-fest....

Favorites (only one I like): "Bleeding"

The first 3 albums of Dead to Fall were known as a personal struggle for the band, especially vocalist Jon Hunt. They weren't really up for the serious image of the deathly metalcore sound they had. Of course I know what fans of their original sound would say to me, "ARE YOU SERIOUS?! You're gonna start with their wackiest album?" And the answer is yes I am, and it works! Are You Serious has humor in the album, songs, and cover art where they're the most comfortable while as enjoyable as the grand classics.

Well it's not entirely a drastic change in the metal sound, but there's more flavor, and I mean bong-party flavor, almost as much as Attila at that time. What also reminds me of that band is how they add in riffing reminiscent of A Life Once Lost and Carnage.

An experimental intro "IQ Test" starts the album. Then "Stupid?" unleashes mighty in-your-face deathly metalcore to make fun of the genre in the lyrics, with Hunt bellowing about how "F***ING STUPID!!!" this song is, mentioning the "OH SH*T!!" At the Gates-like thrashy death metal riff while it's playing, and finally ending it all "WITH A F***ING BREAKDOWN!!!" There's more eclectic programming to come later in this album. "The Future" takes us through atonal space and A Life Once Lost-like riff-wrath. "Sleeping Bag" injects some thrashy guitar into their metalcore in a highlight that shows how much they've evolved.

"Major Rager" is another highlight of strong adrenaline and has practically invented party-core before Attila later that year. This is deathly metalcore with a humorous twist as Jon Hunt bellows about "doing another shot" and "staying up all f***ing night". Another highlight, "Loch Ness" shows some more shredding and vocal growling, this time in a mellower pace, almost like stoner doom, along with delicate programming. "Brainmelter" is faster but still mid-paced, a bit like death 'n' roll in the riffing.

This humorous direction once again has a bit of the band's roots in "Cropgrower". Then "Robo-Destro" has destructive power almost as chaotic as The Dillinger Escape Plan. "Doombox" is another Hatebreed/Bring Me the Horizon-sounding metalcore monster. "Astral Projection/Dream J(ourney)" has trippy weirdness to end the journey nicely.

In a strange yet awesome way, Dead to Fall turned into a more natural and organic band of Darkest Hour-infused metalcore, with the guitarist of that band, Mike Schleibaum manning the production, all while painting the metalcore walls with humor. In the end, you can still hear something more deadly than a mosh-pit ninja, alongside the humor that the earlier, more serious fans, might not approve of. Dead to Fall had the confidence to make that move, and I'm super glad to find the tone balanced out. Seriously!

Favorites: "Stupid?", "Sleeping Bad", "Major Rager", "Loch Ness", "Doombox"

So what have I checked out so far in my Zao journey? First was their second album The Splinter Shards the Birth of Separation which was their last original lineup, then was their third album Where Blood and Fire Bring Rest where they started a new era. Both of those albums are some of the best metalcore albums I've listened. Would their next album continue their perfect streak?...

Way right! Liberate Te Ex Inferis is one of the heaviest albums from the late 90s. It was time for the band take their sound from Blood and Fire to a new level of metalcore. There are 10 songs here, with every two songs placed in one of Hell's circles: Limbo, The Lustful, The Gluttonous, The Hoarders and The Spendthrifts, The Wrathful.

The album's opening "Intro" starts slow before rising in the climax. In the end, an Event Horizon sample lets the listener know that "Hell is just a word, the reality is much, much worse." The first real song "Savannah" continues the band's recurring theme of Christianity's hypocrisy. A porn star suffers a deadly wound and the people who believe in God just let her die, "They can't believe the machine was alive but we saw it bleed, The machine falls apart and when it's cut it bleeds, The machine bleeds, She was alive." The more positively-written "Autopsy" is where Dan Weyandt asks for help from the Lord, "I can't see it but I feel the light, Someone tell us we are loved, Someone take the pain away, Someone fill up the void, Someone fix my broken heart, Are you that someone?" However, some of the other verses are lost and forgotten, even by Dan himself.

"If These Scars Could Speak" tells another story, this one of a woman whom his date raped her. While you can consider this release a concept album because of the Circles of Hell, I'm not sure about that because the songs tell different stories instead of one. "The Ghost Psalm" is another great track. My only complaint that doesn't detract the song and album's perfection is about the unnecessary Event Horizon sample in the beginning, "Do you want to make a deal? Cut a deal with the devil?" Another notable track is "Desire The End" with lyrics about Christianity's end of all things and a new beginning, "I desire the end, The touch of Armageddon, This world encased in flames, I desire the end, I desire the new beginning." Segueing out of another strange movie sample, "Dark Cold Sound" has some more introspective poetry in the lyrics. The listener can understand what Weyandt wants and interpret.

"Skin Like Winter" is a better phenomenal highlight, and what helps is, no strange movie samples around! Now this next track, "Kathleen Barbra", who is that? I have no clue, but we do have another great song, and the last one before the outro... "Man in Cage Jack Wilson", I'm sure there are over a dozen notable people with that name. It starts with another Event Horizon sample that includes the album's eponymous phrase. It's the same sample as the one heard in the beginning of "Prom Song" from Every Time I Die's debut EP released a few months after this album. But instead of chaotic metalcore, we have a dark yet beautiful 7-minute sludgy metalcore Crusade.

An album mandatory for Zao fans, Liberate Te Ex Inferis has a lot smile-inducing surprises. The band has continued their quest since Blood and Fire go beyond the limits for a refined metalcore sound. You don't wanna miss out on this punishing yet rewarding metalcore glory!

Favorites: "Savannah", "If These Scars Could Speak", "Desire the End", "Skin Like Winter", "Man in Cage Jack Wilson"

The perfection of Zao's second and last album with the original lineup carries on to a new one. 1998 marked a new era for the band who have been grateful to God for where their ongoing lives took them. The remaining founding member Jesse Smith continued with new members Daniel Weyandt, Russ Cogdell, and Brett Detar, the latter from rock band The Juliana Theory for a dark turning point in hardcore/metal. Where would bands like Underoath and Haste the Day be without this offering?

Let me just say, Dan Weyandt's screaming is perfect! Besides that, the two guitarists have heavy guitar riffs that would surely blow your minds. While they maintain the Christian lyrical themes, they focused less on the spiritual side and the topics are more about Weyandt's fallen loved ones.

You can immediately hear what's different as "Lies of Serpents, A River of Tears" opens the album. They switched from the hardcore tone of Earth Crisis to a more metallic Converge-like direction, especially in the guitar duo's atonal riffing. "To Think of You is to Treasure An Absent Memory" has vicious drumming. That song was written in memory of a friend of the band who committed suicide. Those lyrics pay great tribute to the fallen, "When you shut your eyes and fell asleep, Dark clouds descended on the souls of the ones who held you close to their hearts." Continuing that tragic theme is "A Fall Farewell", for Weyandt's late relative, in which the message is basically his faith shining to keep him alive after all the losses he and the band suffered. Its heavy impact has caused many Christians and non-Christians to relate.

Once again, guidance from the Lord is prayed for in "March" without having to use the name in vain, "A single quiet voice and the breath of His words consumed the night and brought strength I have never felt on my own, He held me up until I could walk again and promised to stay by my side forever". Next up, "Ember" has heavy riffing that reminds me of early Trivium. "Ravage Ritual" shows a bit of forlorn pain in the vocals as the lyrics fight against the judgmental. Once again, where would bands be like Eighteen Visions, Bleeding Through, and Bring Me the Horizon without a song like "Fifteen Rhema"!?

Only one song threatens the perfection of this release and that's "For A Fair Desire". There just isn't as much lyrical passion as the rest of the album, but I think the song might work well as just a separate single or something. "The Latter Rain" is a greater improvement from that slight misstep, a 6-and-a-half-minute epic! Though it's not the end yet... "Violet" is a beautiful 7-minute piano outro to wrap up the album pleasantly.

All in all, Where Blood and Fire Bring Rest marks a different transition from The Splinter Shards The Birth Of Separation, including shorter songs, though both albums are the best. You like As I Lay Dying and all those bands I've mentioned earlier? Pick this up! Whether you're Christian or not, this is for the heavier metalcore fans. Zao is still alive!

Favorites: "Lies of Serpents, A River of Tears", "To Think of You is to Treasure An Absent Memory", "Ember", "Fifteen Rhema", "The Latter Rain"

I've listened to many bands during my nearly 5 years of listening to metalcore, and I'm currently exploring more of the classic groups such as Cave In, Coalesce, Converge and Botch, and obscure bands like This Day Forward. But there's one band that is, alongside Converge, one of the earliest metalcore bands to still be active today... Zao! Named after the Greek word for "Alive", this band made a solid mark in the metalcore and Christian metal scenes.

The Splinter Shards the Birth of Separation is the second album by the band and shows the band traveling through hardcore roads to add more than just simplicity. There's complex music, with phenomenal drummer Jesse Smith taking the band to battle, and defiant screams by ex-vocalist Shawn Jonas that perfectly match the instrumentation.

The first of those many songs is "Times of Separation", and considering how similar the intro is to that of Every Time I Die's Radical, you might think the latter made a tribute. Anyway, Shawn's long screaming is often what levels up the quality. In "Surrounds Me", he continues to be surrounded by the killer music. "Exchange" is one of 4 songs re-recorded from their earlier material. Not highly different, but it highlights Zao's creativity.

The Christian lyrical message in particle has a bit of a worship vibe, "I will lift You up, I will praise Your awesome name, For what it's worth and nothing less." However, they've done it better than Underoath at that time. "Repressed" is one of my favorites here, sounding quite heavy at times. And another standout is "In Loving Kindness", starting with a short bass intro before some of the best rapid drumming to be found in 90s metalcore. There are great lyrics in "Endure" telling about the surviving truth of Christianity, "It has been proven, It shall remain, This faith has stood the test, It persists through conflict, Through the revolts against its ways, Nothing has held true like this."

"The Children Cry for Help" starts off with a good speedy intro for 20 seconds, and continues into the fast metalcore style you would expect from Zao. However, it just slows down to midtempo for most of the 5-minute length. I still like it though. One other re-recorded song (besides 3 others) is "Resistance" which once again has some of the best vocals here. "Song 1" is OK, but the silence and hidden experimental outro is slightly pointless, though it's still fine and much better than Blur's "Song 2".

I've made the right call of following that YouTube commenter's recommendation, and I'm glad to receive this rewarding masterpiece. My next stop is their 3rd album Where Blood and Fire Bring Rest, but for now, any metalcore fans around can hold on to this album and play it to their heart's content. Never separate!

Favorites: "Times of Separation, "Exchange", "Repressed", "In Loving Kindness", "Resistance"

There's barely any band that could change their sound in each album as immensely as OLD. Starting off as humorous metallic grindcore in their debut, they took on more of a psychedelic industrial metal style in Lo Flux Tube. Album #3, The Musical Dimensions of Sleastak is filled with experimental madness! Basically a weird yet awesome mix of metal and electronics from the brilliant James Plotkin and the shrieking Alan Dubin. Some who find this unlistenable don't know what they're missing in this wild adventure...

This is another original album ahead of time. They experiment with different styles, more than just metal, letting go of restrictive conventions and patterns so what they create can run free. I don't need the thrashy industrial metal of Ministry when I have this cool weirdness that actually suits me!

"A Beginning" is an astonishing way to begin this offering. Then leveling up high is the apparently two-part "Two of Me". More of the experimentation commences in the freaky highlight "Freak Now". That song was used in the soundtrack for the film Brainscan. Another song featured in that movie is "Peri Cynthion", one h*ll of a 10-minute experimental industrial metal epic. Listen for yourself if you like this sound!

"Happy Tantrum" sounds like an outtake from Lo Flux Tube, but a great improvement from there. It's another one of my favorite tracks in this album, with absolutely no filler. The experimentation actually sounds catchier than that of the mathy metalcore of Coalesce. "Creyap'nilla" can sound a little creepy at times.

"Glitch" is really great but can be a bit glitchy in some parts. "Ebb" allows the experimental instrumentation to flow nice and smoothly, while staying surreal. "Backwards Through the Greddo Compressor" is the 11-minute finale that almost sounds like the album is shortened and compressed. It's so different yet listenable! However, it probably won't help those people who put down the album change their minds.

Yeah, those unbelievers are better off elsewhere. The only people I would recommend this to are those up for a challenge through experimental noise-powered industrial metal, like I am now. Enjoy the weirdness!

Favorites: "Freak Now", "Peri Cynthion", "Happy Tantrum", "Backwards Through the Greddo Compressor"

The years following the tragic loss of founding guitarist Tom Searle was quite interesting to say the least. Although Holy Hell continued the sound from their glorious mid-2010s trio of album, it subtly hinted at a more alt-metal direction that was fully realized in For Those That Wish to Exist. The latter may not be my favorite Architects album, but it was still highly successful in the modern metal scene. So the band continued that path with more industrial aspects in The Classic Symptoms of a Broken Spirit.

Seems like the band was doing what Trivium did between their two latest albums during the pandemic; release one album and go straight to working on the next. Similarly, the recording process was quite a different challenge. While staying popular, the band stay true to what they are with dark lyrics and raw emotion in the music.

Opening track "Deep Fake" has the band's typical riff-wrath in a slower industrial march. The lyrics pay tribute to their previous album, "But the rest of us wish to exist". We have a killer blend of riffs and synths here. It's clear that they're following Bring Me the Horizon's footsteps during their Post Human era. Sam Carter even channels his own Oli Sykes in the heayv chorus. Carter might be able to sing that one song featuring Sykes by himself. Anyway, fantastic track! Next one, "Tear Gas" starts off with slight distortion before some cool riffing and drumming. The BMTH influence continues here, along with throwing some ideas from Linkin Park and Three Days Grace. My alt-rock loving brother would like that more than I do. "Spit the Bone" spits out some electronics, in a way that adds to the song's brilliance.

"Burn Down My House" is a mid-tempo ballad-ish song though with a dark turn in the instrumentation. The more poppy aspects that appear in this song and much of its album end up giving Architects more in common with a band like Falling in Reverse. Well, my original comment for that song was written before that band's new album Popular Monster was released, and while my opinion still stands, don't expect any of the things that made that album poorly received. "Living Is Killing Us" makes an unexpected turn into personal lyrics and emotional music. However, it doesn't have that much of an impact. "When We Were Young" continues that pretty good alt-/industrial metal direction, though there are other tracks I enjoy more. Carter sings some higher falsetto in "Doomscrolling" which would've been fine if the song had more power. The lack of strength makes this sh*t perhaps their weakest track since The Here and Now.

"Born Again Pessimist" is an ode to the band's classic sound. The catchy chrous really gets me hooked, and with Carter's vocals ranging from determined cleans to brutal screams, we have yet another banger. "A New Moral Low Ground" is a good alt-metalcore track, though it doesn't have the same glory. "All the Love in the World" is also pretty average, not much memorable there. Finally, "Be Very Afraid" has the most of the band's earlier heavier metalcore/post-hardcore sound. It's so exciting hearing their brutal roots. Some parts are still a bit average, but it still makes a killer ending highlight.

Architects knew what to do to maintain the success of their previous album. As talented as they still are though, The Classic Symptoms of a Broken Spirit is still kinda average, worse than For Those That Wish to Exist, but not as bad as The Here and Now. Still it's worth good listening, and it fit well for those dark virus-ridden times....

Favorites: "Deep Fake", "Spit the Bone", "Burn Down My House", "Born Again Pessimist", "Be Very Afraid"

From the capital city of Norway, Oslo, here's gothic industrial metal masters Gothminister! This project founded by Bjørn Alexander Brem became a full band when a fanbase started growing, a fanbase strengthened by their live shows and music. The band has recently made their comeback in rising pandemonium.

The band made a steady career with 6 albums spanning from 2003 to 2017. Then all was silent for 5 years, with no material released during then. It was a long wait...until over 3 months before this review, on October 21, the new album Pandemonium arrived, and the anticipation was totally worth it! With an intro and 10 songs at a span of 40 minutes, their lyrics of darkness and death can make your ears bleed in a pleasant and painless way.

Beginning this masterpiece is the sweet 35-second intro "Abgrund (Abyss)" that welcomes you to the dark industrial hellfire. The well-arranged and thriving title track is filled with epic industrial metal greatness! I'm glad that got me into the band alongside one of the songs from the previous album The Other Side. "Demons" has poppy synths, along with a catchy chorus that you can't resist. "Star" will get you hooked. The melody is an addictive throwback to the band's 2000s era that was more focused on electronics while still having a lot of metal.

Things start to build up slowly in "Sinister". Seducing you smoothly is "Kingdoms Rise". Then we have the sensational "Bloodride" that can make as thirsty for blood as a vampire. The heavier "Norge" is a doomy march of gloom that, in some ways, has possible potential to be the Norwegian anthem. Note that the title is Norwegian for their homeland of Norway, hence the potential.

Rapidly firing away, "Run Faster" has purely fast metal. "This is Your Darkness" empowers you as greatly as a certain game show. Then ending in a bang is the progressive "Mastodon", though not as progressive as the band Mastodon.

In conclusion, Pandemonium can surely unite the gothic-ish industrial metal fanbase with their catchy sound. Music listeners outside of metal may point out the band's aesthetic of evil darkness, but what they don't find when they don't try is the hopeful light in their compositions. It's just so incredible this compelling music they make. Worth the 5-year wait, the Norwegian dark industrial metal masters strike again!

Favorites: "Pandemonium", "Star", "Bloodride", "Norge", "This is Your Darkness", "Mastodon"

Once I joined The Sphere clan and was given the privilege of assembling the monthly Sphere playlists, it was like a whole new world of industrial metal opened up for me! I started discovering many more bands of the genre than before, Gothminister being one of them. One of the songs from this album was what got me into that band, but I'll talk more about that song as the review goes on...

So how do I like industrial metal? Dark, but not overly accessible. The Other Side is a perfect example of that. Frontman Bjørn Alexander Brem has also been known to be a lawyer, and he can lead the pack to perform horror-themed live shows that would make Marilyn Manson or Alice Cooper watch in awe.

First up, "Ich Will Alles" (I Want It All) starts with a sad slow symphonic melody, then pounds into upbeat heavy industrial metal. Other than the title lyric, the song is sung in English. This pleases me because I can't really get used to the Neue Deutsche Härte of Rammstein that heavily depend on German lyrics. There are dark storytelling lyrics throughout, "Leaving God behind, because I have darkness on my mind." Perfect for an energetic goth-rock dance-club! Next up, "The Sun" continues the dark industrial metal sound with harmonic energy. Sure the lyrics can be deemed as satanic as Ghost, but the fierce yet catchy chorus and melodies turn the song into an earworm to make you forget its dark side. "Der Fliegende Mann" (The Flying Man) is symphonic industrial metal with a German chorus. "Aegir" is a different slow rock ballad.

"Red Christ" starts with bombastic symphonics and Front 242-esque synths, before rocking out into heavier territory with an anthemic chorus, "I’ve turned so blind but I feel future is coming." Rather prophetic if you think about the world today! That's also the song that got me into this band. It's so epic, just listen to believe! "We Are the Ones Who Rule the World" drives through with the guitar crunch and beat of Nine Inch Nails, and more lyrics about the world's political climate. The final minute includes a slow bridge and a poppy female vocalist singing the title. Another track, "All This Time" has dark philosophical lyrics.

"Day of Reckoning" is another symphonic industrial metal song. Then "Taking Over" has electro-industrial synths and harmonic female vocals taking over to nicely add to the ongoing sound. "Somewhere in Time" sounds so spooky, and I'm talking about the riffing and whispered baritone vocals. It's actually a melodic symphonic closer to this part of a dark industrial metal journey.

All in all, this album is an impressive favorite of mine in my Sphere collection, and I would suggest buying the CD if you can afford the full beautiful package. Pretty much every fan of the industrial metal of Nine Inch Nails and Marilyn Manson should get it. There's a lot to find at the Other Side!

Favorites: "Ich Will Alles", "The Sun", "Red Christ", "We Are the Ones Who Rule the World", "Somewhere in Time"

If you're about to listen to this album and read my review, let me say, congratulations on having the bravery of continuing your epic deathcore exploration after the incredible starter pack that is Lorna Shore's EP And I Return to Nothingness. If you decide to listen to their new album Pain Remains, while sleeping and absorbing it subconsciously, here's a quick warning. You're gonna witness, in your dream, change that has never happened in reality, so intense, that when you wake up, your pain remains. In the dream, you're the sleeping dreamer. The scenario I've made throughout this review will be your dream!

Lorna Shore had their own painful situation over two years ago that they have overcome. It started just a month before the release of their previous full album Immortal, when vocalist CJ McCreery was fired due to a scandal of abuse allegations (not clickbait), then most of their touring was cancelled due to the rising virus. However, the following year, the band wrote and release the EP And I Return to Nothingness with a new frontman Will Ramos, and for the first time in their over decade-long tenure, they've hit the stratosphere of global success! Fast forward to late 2022, their epic new album Pain Remains showed the band pushing their deathcore boundaries further. Keeping up the addition of symphonic black metal darkness and technical sludge-ish breakdown aggression into their epic deathcore sound, the anticipation is all worth it.

"Welcome Back, O’ Sleeping Dreamer" begins with an ominous intro, where symphonic orchestra rises as if you were expecting Two Steps From Hell. Then at the top, the band strikes in a devastating touchdown, as the guitarists conjuring a searing riff storm raining down on you. A brutal breakdown chops you down to size, then sharp riffing once again decimates you while fitting well with the brilliant cinematics. The Sleeping Dreamer finds himself in a world that has been, and can be, designed using his own imagination. However, he falls into a world of nightmares that always changes to become worse than before and cannot be changed by the Dreamer himself until he can succumb to the possession, which he refuses to do. Driving further is "Into the Earth", with its frantic verses and dramatic chorus. The Dreamer has to shine like the sun, with the rays touching the dream Earth. However, he grows cold and crashes into the dream Earth, with vivid nightmarish hallucinations surrounding him and projecting into his mind, leaving him immobilized. "Sun//Eater" is the first single released for the album, and has psyched fans up with its furious fret force and mythological lyric themes. A young choir of angels appear, chanting "Kyrie eleison" ("Lord Have Mercy"), giving the Dreamer wings and the unlimited power to fight back the hallucinations. He flies back into space and, like Icarus, heads towards the sun, this time conquering and consuming it, regaining his shining power, now shining a colorless black-and-white light, a hint at his possession of evil slowly beginning.

One epic shining highlight is "Cursed to Die", in which the speed and precision from the band's rhythm section work like a charm. The breakdown fits well right in the middle of this epic glory without being abrupt. Despite all that power, the Dreamer starts to feel weaker and more fearful, believing that he might lose his legacy and be cursed to die. However, the evil within possesses him to continue what he was doing before, building up its legacy to the point where it still hasn't reached enough, decaying his soul greatly. The breakdowns in "Soulless Existence" have the same greatness as the previous track, invited in by the Lord of the Rings-like epicness and emotion. At this point, the Dreamer has lost 90% of his soul. The evil has greater control in him than before and begins melting the tundra and ice of the blackened dream Earth, flooding the whole world. The Dreamer's weak soul could only question the existence of himself and the world. Without showing off, in "Apotheosis", the technical speed in the drumming is so insanely impressive, keeping up the band's heavy fury. The evil within the Dreamer is now powerful enough to leave his body to continue its destruction of the dream Earth. The evil spirit boils the water and burns a hole into the dream Earth. The weak Dreamer falls into the hole and finds himself in the Labyrinth of Hell, which he must go through into the center to find the altar of power to regain his power, though at the risk of having his soul decay again. "Wrath" has more of this visceral fire from the rhythm section and is a f***ing heavy highlight overall, like probably the heaviest of the year! After praying at the altar, the Dreamer regains his infinite power and the missing part of his soul, and zooms back up to the surface to unleash his wrath on the evil spirit who's already burning the Dream Earth with his fire powers. As the battle goes on, the flames expand and cover more of the land, and the Dreamer is unaware of his soul decaying until he is struck down by the evil spirit.

At last, we've come to the coldest blizzard of this dark snowy journey, the 3-part title trilogy suite of grieving sorrow. The first part "Dancing Like Flames" is so d*mn beautiful. It's been referred to as a "deathcore ballad", and I kinda agree in the emotional sense. The Dreamer finds himself lying down in the flaming ground, in never-ending pain from the flames and the earlier strike-down from the evil spirit. All he could see is a ghostly image of a passed lover from the past. With little strength he has, he dances with the ghost in the flames before finally collapsing once more. He sees one last hallucination, the Grim Reaper telling him that it's his time to die. The suite continues seamlessly into the second part "After All I've Done, I'll Disappear", expanding the emotionality and adding in a little more intensity. The hammering instrumentation and vocals allow the band to shine in the symphonic black-deathcore realm. With only minutes left before the Dreamer's time to die, he realizes that after all he has done in his desperate attempt to protect the dream Earth, he will have to disappear, leaving behind what he failed to save, now having no meaning. His soul leaves his body and transcends out of the world that has reached its heating point and begins to disintegrate. He transcends through the astral plane. The climatic final part "In a Sea of Fire" is a highlight you can never skip. It shows the band at their most epic, then wraps it all up with a soft outro of ethereal atmosphere. Suddenly, the evil spirit grabs the transcending soul of the Dreamer, possesses him once more, and burns him away into nothingness. The evil spirit then burns away the remains of the Earth out of existence. With its own infinite power, he then proceeds to burn away the rest of the galaxy and the rest of the universe. In the end though, it all turns out to be a dream for the main character who then wakes up.

Pain Remains can be described as a lot of adjectives, more than just the decently overused "epic". With an intense production of complex instrumentation, dynamic vocals, and brilliant lyrics, all to marvel at, you're in for a fun remarkable deathcore treat. The early 2020s can be pretty much a new rising era for deathcore, all thanks to Lorna Shore taking out their pain on an immaculate masterpiece of a lifetime!

Favorites: "Welcome Back, O’ Sleeping Dreamer", "Cursed to Die", "Soulless Existence", "Wrath", the complete "Pain Remains" trilogy ("Dancing Like Flames", "After All I've Done, I'll Disappear", "In a Sea of Fire")

Fancy tea parties wouldn't be for Sam Carter if he keeps making rude noises like he's disgusted about something, "BLEGH!" Get it? OK, jokes aside, Architects has please the modern metal scene with technical metalcore blended with Linkin Park-like melodies. But now it seems like they want to take the Linkin Park-isms further. After a few albums of monolithic metalcore, album #9 For Those That Wish to Exist marks a different phase in their career.

This new direction was first hinted subtly in their previous album Holy Hell, an offering of resilience after the passing of founding guitarist Tom Searle. At least this more accessible sound in For Those That Wish to Exist is better than their first attempt in The Here and Now, and even Hollow Crown. Still the redemption wears off...

"Do You Dream of Armageddon" is a nice electro-orchestral intro. Then "Black Lungs" blasts off into catchy nu metalcore. I recommend that song to anyone wanting to get into alt-metalcore! I like "Giving Blood" in which the booming rock sound and bombastic strings makes sure this album is the Minutes to Midnight of Architects. "Discourse is Dead" throws back to the band's earlier heavy aggression. It's polar opposite "Dead Butterflies" is a ballad-ish rocker, standing out with Carter's cleans and screams.

Stomping rhythms cover the heavy "An Ordinary Extinction". Then "Impermanence" has more of that battling against the bass and drums. Guest vocals appear for the first time in a few albums, as Winston McCall from Parkway Drive adds to the metal intensity. As much as I enjoy that one though, why the h*ll does the "again and again and again" part sounds so much like part of the chorus "Don't Let Me Down" by The Chainsmokers?! Speaking of electropop, "Flight Without Feathers" only depends of dreamy keys and beats. One song I feel lacks some creativity is "Little Wonder", sounding too mainstream in the music and lyrics, "I wanna sing you a different song, one's that easier to swallow". Yeah, there are easier songs to swallow than that sh*t. But it's made up for by the guest vocals of Royal Blood's Mike Keer and the strong breakdown, "THEY F***ING HAD IT COMING!!!!!" Next track "Animals" marches with a great industrial drum groove alongside the addictive guitars and bass.

The riffing power goes heavy in "Libertine". Then "Goliath" is another interesting track with ambient synths, arena-filled melodies, and metalcore heaviness all at once, with some more guest vocals, by Biffy Clyro vocalist Simon Neil. Deeper down, "Demi God" soars with strings without much error. The penultimate "Meteor" is not bad, but the catchiness could've had greater composition. "Dying is Absolutely Safe" closes the album with delicate strings and additional drum work by Liam Kearley of Black Peaks.

While a few tracks really end up tapping out, you can depend on Architects to hook you up with different aspects including synths and cinematic strings. For Those That Wish to Exist is for those who wish for a more diverse sound, though the heavier fans wish the band could stand by what they're known for....

Favorites: "Black Lungs", "Giving Blood", "Dead Butterflies", "Impermanence", "Animals", "Goliath", "Demi God"

Holy Hell... That would be a phrase I would think the first time I hear Architects' amazing mid-2010s trio of albums. The album Holy Hell shows the band starting to go back to the descending quality first experienced from Nightmares to The Here and Now. However, here they still have their greatness, and it shows that despite losing one of their most talented and devoted members, they can stay strong and pay tribute to their fallen friend.

Just a few months after the release of their wild emotional 2016 album All Our Gods Have Abandoned Us, founding guitarist Tom Searle passed away from skin cancer. Throughout their next 11-track album Holy Hell, the band can pick up their broken hearts, heal them with determination, and maintain Tom's legacy. With every riff and lyric, there's a glow of sadness and strength. Holy Hell continues the atmospheric metalcore of their previous album while hinting at a bit of the alt-metal direction they would take afterwards. Lead guitarist Josh Middleton (frontman of Sylosis) steps in with impressive leads and melodies, while Tom's twin, drummer Dan Searle, continues firing away.

For the first track "Death is Not Defeat", some of the most intense lyrics and music I've heard in this amazing masterpiece of a song! If death catches up to me on an untimely moment, I'd like this as my funeral song, along with its epic prequel track "Memento Mori". Absolutely underrated! The rhythm in the final minute, towards the end, shows the Tom era coming full circle. "Hereafter" has powerful raw emotion, relatable to anyone with the pain of losing someone close to you. Another immortal classic "Mortal After All" has some of the most impressive riffing by the band outside the mid-2010s trio. The title track throws back to the hardcore rhythms of early 2010s Bring Me the Horizon, while blending them with slight electronic ambience that band was experimenting with at the time, a subtle hint at what Architects would have in their next album.

"Damnation" takes on thrash-ish prog leveled up by loudness. Ali Dean performs audible bass grooves that fit in nicely sandwiched between the leads and rhythms. Then we have another impressive heavy/melodic track, "Royal Beggars". Then "Modern Misery" is a sludgy djenty banger with lyrics that fans would wear on their arms and sleeves, "we used to run with the wolves". It's a f***ing catchy standout to sing along to. "Dying to Heal" continues the furious action. The screams, drums, and guitars are in great synergy with no sign of losing energy.

The short yet metal as f*** "The Seventh Circle" is a rapid frenzy with a lot of the band members' talents. You can get all you want from the brutal side of metalcore in the song's two-minute length. The live crowd would be having a massive moshpit, and you'll have to be prepared enough to survive, otherwise you're f***ed. For anyone thinking the band's heaviness is withering, that will make you change your opinion. I would recommend that track to anyone new to this band wanting to start off with something heavy. The ending breakdown has the most of that heavy hellfire. Another highlight, "Doomsday" is a smooth cool example of Architects' sound after the passing of Tom who, by the way, has co-written the song posthumously. Soft verses make a brilliant contrast with the soaring chorus. "A Wasted Hymn" soars over the line between heaviness and melody, ending the album with more of the band's hunger for both construction and destruction.

Holy Hell shows Architects' rebirth after a tragic loss. Whether it's easy or hard to listen to depends on what you like and the mood you're feeling. And I continue feeling the emotion I get from listening to this band, and their sonic metalcore blasts....

Favorites: "Death is Not Defeat", "Mortal After All", "Royal Beggars", "Modern Misery", "The Seventh Circle", "Doomsday"

The final part of both Architects' glorious trio of albums and the era of Tom Searle is honestly one of the most emotional metalcore albums I've heard, and the first time I've heard it was when I was letting go of something that has shaped things up for me in the past, that being my earlier love for heavy/power metal after I left The Guardians, though I've been enjoying a few more Guardians bands recently. The most emotional impact comes from the 8-minute finale, which we'll get to later on.

At this point, Architects has fully redeemed themselves after the poor Hollow Crown (still enjoyable by others) and the unloved Here and Now. The excellent Daybreaker and the incredible Lost Forever Lost Together are just what we need in the metalcore realms! And with All Our Gods Have Abandoned Us, the distant past remains the past.

Opening things up hard and heavy is "Nihilist" with its immediate intensity. It's a perfect blend of brutality and melody! The next track "Deathwish" continues that glory with the Meshuggah-infused technical djent-core that spreads through a lot of the album. Sam Carter shouts an anthemic chorus for the stadium masses. The drumming gets more active in "Phantom Fear". The only slight problem is when the riffing gets a bit repetitive. Still it's made up for by the lyrics of humanity's futility, "No love, no empathy, our fellow man is now our enemy". Next up, "Downfall" has complex riffing rhythms, though in more of the "groove" kind of Lamb of God. Still it's quite djenty and the band can break the rules of conventionality and make their own.

"Gone With the Wind" is not related to the movie ("Frankly, my dear, I don't give a d*mn"), but with lyrics like "Hope is a prison", the theme of humanity's futility is maintained as hope is deemed, well, hopeless. "The Empty Hourglass" is never empty, heavily diverse with what to expect from ERRA, The Ghost Inside, Motionless in White, and even Ne Obliviscaris. "A Match Made in Heaven" attacks with some breakdowns, though it might end up being slightly, JUST slightly, draggy. Then "Gravity" pulls you through like a black hole, sounding like a more spacey atmospheric Hatebreed.

Noise fills your ears in "All Love Is Lost", while still having dark galactic atmosphere. "From the Wilderness" sounds nicely like August Burns Red with some Godflesh-infused atmosphere. Then at long last, we come to Architect's longest song and one of the most heartful tear-shedding tracks in all of metalcore, "Memento Mori". This astonishing epic, along with the rest of this album, was written, recorded, and released in the last months of the life of Tom Searle, and the lyrics include a couple recorded quotes from Alan Watts that perfectly do justice to the inevitable transcendence into infinite darkness that awaited him. Absolutely amazing, emotional, and deserving to be heard beyond the universe. RIP this amazing legend... My mind is blown by such great remembrance for the memory of a talented young man gone too soon. If one day, I end up passing too, this would be my funeral song. The power of the music and lyrics can be absolutely gripping. In fact, the lyrics and melody (specifically at the 4-minute mark) is revisited in "Death is Not Defeat", the opener of their next album and first without Tom. If you end up on the brink of death with no way out, just let it be. It is your fate. An inspirational message from this glorious epic to end this fascinating album.

As awesome as many metalcore bands are to me, Architects stands out with all of its heartful emotion in All Our Gods Have Abandoned Us. Clearly, they deserve to be on top with Meshuggah, Converge, and TDEP. And all their mistakes from the past are left in the forgotten void. H*ll yeah! RIP Tom Searle. Memento Mori, be mindful of death....

Favorites: "Nihilist", "Deathwish", "Downfall", "The Empty Hourglass", "Gravity", "Memento Mori"

Finally we get to Architects' amazing mid-2010s trio of albums! Daybreaker breaks a lot of the hardcore monotone by enhancing their earlier heaviness while having some melody. Lost Forever Lost Together makes that direction perfect with its more atmospheric elements. And All Our Gods Have Abandoned Us has emotional darkness suitable for the swansong of late guitarist Tom Searle. RIP...

Architects started off solid with their debut Nightmares, but their quality decreased gradually in the albums that followed, reaching their lowest point in the mainstream Here and Now. After some not-so-speedy accessibility, the band cranks the metallic speed back up, proving the most of the ambitious talents.

"The Bitter End" is an intro-ish track starting with haunting electronics and serene cleans, before the abrasive screams and guitar crunch take over for its second half. From beauty to brutality at ease! Higher up in the riff-wrath is "Alpha Omega", with the guitars screeching through Sam Carter's vocal power in his screams and cleans, the latter covering the chorus in full confidence. "These Colours Don’t Run" also starts eerie in the intro then runs through moshing heaviness and pleasant melody. There's also a violent ending breakdown with guest vocals by Jon Green of Deez Nuts. A true technical highlight! The title-ish track "Daybreak" once again mixes together with aggression and melody in both the music and the vocals.

In the first half of "Truth Be Told", melody soars through while leaving some space for their heavier side, making a sonic blend. Next highlight "Even If You Win, You're Still a Rat" has guest vocals by Bring Me the Horizon vocalist Oli Sykes. It's just 3 minutes of metalcore chaos, just the way I love it! "Outsider Heart" is another h*ll of a crusher, this one featuring Stray from the Path's Drew York. Just like in The Here and Now, the guest vocalists are what level things up a bit. "Behind the Throne" is the only track I would find strange, considering its odd position as a softer track.

"Devil's Island" was originally a bonus track in the reissue for The Here and Now. I think it's good that I skipped out on reviewing that album's reissue tracks, because I appreciate it a lot more in Daybreaker. The heavy "Feather of Lead" further makes sure that the band's heaviness isn't lost after The Here and Now. Quite strong! Lastly, "Unbeliever" is the soft ending track. Not the total best, but better than the previous two albums' closing tracks.

Daybreaker is an album I would revisit anytime. It stands out as one of Architects' best albums alongside their next two albums. This timeless offering should never be ignored. It shall see the broken day!

Favorites: "Alpha Omega", "These Colours Don't Run", "Even If You Win, You're Still a Rat", "Outsider Heart", "Devil's Island", "Feather of Lead"

Oh f*** me... Even one of the most impressive and talented metalcore bands ends up losing most of their metal in one album. This is pretty much the lowest point of the career in my opinion, much lower than even their 2020s alt-metal material. And this was at the time when Architects was making a downward drift in quality that includes their 2000s material. Anyway, let's review their worst album The Here and Now, right here right now...

The British modern metal scene still had a lot of metal at that time. Bring Me the Horizon was still in their pure metalcore phase white hitting the airwaves and charts. On the other hand, Architects thought it would be a good idea to rock the boat with more rock and less metalcore. The end result did not work well in heavier fans' favor.

The My Chemical Romance-infused sound of the previous album's closing track has bled into "Day In Day Out", this time having the pop-core sound of A Day to Remember. This similarly happens in "Learn to Live" which is actually a cool chant-filled anthem. "Delete, Rewind" explodes into heavier guitarwork, though in more of a post-hardcore form, especially when the emo-ish cleans blend with the screaming intensity.

"BTN" (I'm guessing that stands for "Been Through Nicotine) comes out as more of a blend of Bad Religion and Foo Fighters than anything. Aspects of the latter band appear more in "An Open Letter to Myself", albeit with a more electronic stylistic basis. Distorted aggression explodes like a bomb in the oddly titled "The Blues".

"Red Eyes" has a chorus worth singing along to that makes the track more interesting. Andrew Neufield of Comeback Kid guest appears in "Stay Young Forever", which greatly turns the track into a mosh-ready punisher. Then we have another rock ballad in "Heartburn", which is way too soft for a band known for their hardcore brutality. "Year In Year Out" is another intense anthem, featuring Greg Puciato of The Dillinger Escape Plan. I'm not sure what the point of the hidden track "Up and Away" was.

I'm also not gonna talk about the special edition reissue bonus tracks. If there's any song I would recommend from this album, it would be "Learn to Live" and most of the second half. Everything else is a f***ing failure. Luckily, they would make up for all their mistakes in their next few albums and beyond....

Favorites (only tracks I like): "Learn to Live", "The Blues", "Red Eyes", "Stay Young Forever", "Year In Year Out"

Hollow Crown is often considered Architects' best album in the 2000s era, but I don't think so. The best in their 2000s era is still their debut Nightmares and they would only achieve total glory in the mid-2010s. There are still some decent tunes to enjoy in this 2009 album...

It should be noted that there's more than one band with a similar name; Architect, an American band that was also active in the late 2000s and had a similar sound, and The Architects, an American ska-rock band. Oh, and there's an At the Gates song called "The Architects". I'm not sure if that's where the British metalcore band Architects (no "the") got their name. Anyway, Hollow Crown takes on more fierce angle than Ruin with more natural evolution.

"Early Grave" clearly shows the band taking no sh*t. There's some mathcore influence there while not highly technical, still hammering through riffing brutality. There's more of the screaming anger courtesy of vocalist Sam Carter, occasionally mixed with clean singing without becoming post-hardcore. "Dethroned" continues tearing down the walls with some alt-ish motives that would later be adopted by Bad Omens. "Numbers Count for Nothing" is more chromatic, especially towards the end. A similar ending occurs in "Follow the Water", though the rest of the song has more of the furious formula that started out in Ruin.

"In Elegance" has more melodic moments, and I can almost get the ambient heaviness from later modern melodeath bands like Gyze. Then we have the brutal scorcher "We're All Alone". The more hardcore "Borrowed Time" sounds a bit emo-ish. "Every Last Breath" takes some cues from Attila (without the rapping) and Underoath.

"One of These Days" is so diversely packed with a lot to expect from bands like All Shall Perish, Black Veil Brides, Every Time I Die, and Trivium. "Dead March" deviates from the usual D-flat/7-string A-flat, tuned up a half-step to A. "Left With a Last Minute" is just straight-up Norma Jean. The title finale sounds too much like a clean My Chemical Romance ballad. Why the f*** choose that as a title track? Their bonus re-recording of "To the Death" makes up for that and should've been the true ending.

Hollow Crown is a decent follow-up to Ruin, though another step down. Of course, many of the songs are still worth listening to. Nonetheless, i suggest that any newcomers start with their mid-2010s material, so you can have a better experience with the band that doesn't feel as hollow as this album....

Favorites: "Early Grave", "Dethroned", "Follow the Water", "In Elegance", "We're All Alone", "One of These Days"

If I were to choose which is Architects' best era, I would say the mid-2010s. Now don't get me wrong, I like this 2000s era as well. However, while most people say they've gotten better throughout the late 2000s, to me it sounds like they've gotten a bit worse, hitting its lowest point in 2011's The Here and Now. Ruin begins that descent...

In the extreme metal realms, death/black metal reigns in Europe, mostly in Scandinavia, and metalcore/hardcore reigns in the US In between, the UK, known as heavy metal's true birthplace, has a fair share of bands from both ends of the metal spectrum. Architects is an essential band in the British metalcore scene. Ruin continues their metalcore evolution while discarding most of the mathcore noise from Nightmares. Though the violence could've been greater if they had some of that Hatebreed groove.

Opening track "Buried at Sea" is a total crusher. The guitars are tuned down from the debut's drop C to drop B. Brutal breakdowns and dynamic chords spread through, along with the deathly riffing of Bring Me the Horizon at that time, maybe even reminding some of Cannibal Corpse. A solid heavy start! And there's more of that chaos in "Hunt Them Down". The punchy "You'll Find Safety" has an anthemic chorus alongside melodic singing and chords, like what In Flames was doing in their alt-metal transition back then but better. "Always" is almost like Killswitch Engage on steroids, and no, that's not an exaggeration.

The dense interlude "Sail This Ship Alone" sails through haunting ambience. "Heartless" explodes in Converge-like mathy metalcore while adding in some melody from A Day to Remember and God Forbid. "North Lane" isn't totally exceptional, but at least I know where the name of Australian band Northlane comes from. "I Can't See the Light" is almost like As I Lay Dying on steroids, and that's also not an exaggeration.

An unfortunate filler track is "Low", their first time dropping the lowest string to G-flat. Of course, the tuning isn't the problem, but this track just falls f***ing flat and ruins an otherwise entirely listenable album. "Running from the Sun" has a less technical angle, while still hammering through riffing brutality. There's more of the screaming anger courtesy of then-new vocalist Sam Carter, occasionally mixed with clean singing without becoming post-hardcore. "Save Me" continues the whole "Killswitch Engage on steroids" things with a dash of what Cane Hill would later have. Bonus track "Broken Clocks" sounds not too far off from another later band, Oceans Ate Alaska.

I wish I could say that Architects' Ruin would qualify as one of the best metalcore albums of 2007, but I have to speak my true opinion. It's not as memorable as most of their 2010s albums and even Nightmares. Still there are some good songs that make these 43 minutes never a waste of time. If anyone thinks North America is the homeland of metalcore, you may be right. Though we can't forget about Architects leading their own metalcore anarchy in the UK....

Favorites: "Buried at Sea", "Hunt Them Down", "You'll Find Safety", "Heartless", "Running from the Sun", "Broken Clocks"

Pretty much every popular band has to have at least one album that's overlooked. The album can often be a band's debut. Architects' Nightmares is a different beast than their later works, showcasing more of a technical metal/mathcore with time signature-changing riff insanity. Even at their most humble of beginnings, they can sound fresh and talented. While I can't deny how similar they are to some bands, they can pull it off without ripping it off, and they have some great chaotic stuff on their plate...

These Architects of metal and hardcore were around 18 when they made their debut. They must've listened to a lot of TDEP and Botch for their heavier sections while also blending them with different melodies. All this would please longtime fans who would then check out their new material and wonder "What the f*** happened?!"

Opening track "To the Death" starts this technicality-filled rollercoaster ride without losing any steam. Dan Searle's drumming pummels through alongside the riffing. The audible bass gives the guitarwork some boost. Next track, "You Don't Walk Away From Dismemberment" is a perfect riff-tastic highlight. Mathcore fans will have something worth smiling at in "Minesweeper".

We start to hear some clean singing "They’ll Be Hanging Us Tonight", which is fine when then-vocalist Matt Johnson does it, but Sam Carter does it better. Another standout track is "This Confession Means Nothing". It has a nice pleasant calm buildup before having some chaos in the second half.

"In the Desert" has some awesome guitar melodies, making this track not just the best highlight of the album, but one of the best ever by this band! "A Portrait for the Deceased" has some riffing harmonies that is practically a metalcore guitar fan's wet dream. The closing highlight "The Darkest Tomb" ends it all in metalcore wonder. Melodic epicness covers the riff tapping that fiddles through a final breakdown.

All in all, Nightmares is a great start to a phenomenal band. This half-hour 8-track offering shall be worth your time. They didn't have to as deathly as Bring Me the Horizon at that time nor as ultra-melodic as Bullet for My Valentine. It's all just technical metal/mathcore, recommended for those wanting chaos in their lives....

Favorites: "You Don't Walk Away From Dismemberment", "This Confession Means Nothing", "In the Desert", "The Darkest Tomb"

You know me as a metalhead transcending through different metal genres, currently focused on metalcore, industrial metal, alternative metal, and progressive metal. Having been born in around the same year this band was formed, I was never around in the 80s, when the older guys grew up with genres such as classic heavy metal and the more melodic progressive metal. After trying to get into those earlier genres for some time, I realized that my heart is set for something more extreme, technical, and djenty...

So here I am, listening to this amazing band Mnemic, having sonic influences from Fear Factory and Soilwork, straight outta Denmark! After two albums, vocalist Michael Bøgballe was out, and Guillaume Bideau was in. There ended up being a bit more of a progressive/melodeath vibe added to their industrial/groove metal sound, which turned off some fans, but it never ceases to please me. Mnemesis is the band's final album before hiatus, and it continues the band's indirect aim to resonate with me, though with a more melodic twist in their metal, sounding like they've added some late 80s throwbacks into their futuristic sound. It's almost enough to make this a full-on gem!

Beginning this final leg of their journey is "Transcend", adding some solid Soilwork magic. "Valves" is one of the best tracks from this band, continuing the Strapping Young Lad-like blend of arena rock and extreme death riff-wrath/growls. And that massive fusion starts from the tasteful synth intro. "Junkies on the Storm" has some more of the heavy headbanging pace along with a chorus to be implanted into your head. Solid single "I've Been You" starts catchy in the intro that blasts off into the usual riff machinery and growls, leading to a melodic chorus you just gotta love. Another track "Pattern Platform" kicks their modern metal sound up a notch once again. You just gotta follow the patterns that fire this sh*t up.

Another favorite, the title track has some of that Scar Symmetry-like futuristic melodeath going on. But what really brings the band back to a time 25 years before this album is "There's No Tomorrow", the 6-minute epic that almost sounds like a power ballad ala Bon Jovi/Dokken. There's even a beautiful guitar soloing crescendo. Of course, the brutal growls are still in great passion. Following this "Haven at the End of the World", showing how impressive drummer Brian Larsen can be despite this album being his only one with the band. "Ocean of Void" might sound closer to nu metal, but there are some melodeath growls, plus some more of the classic sounding harmonies.

Now before we get to the grand finale, the bonus tracks are worth mentioning, starting with "A Matter of Choice", with fantastic extreme dissonance that includes another blazing solo. "Empty Planet" adds a bit of Voivod-like progressiveness and Silent Planet-like hardcore and atmosphere. "Synaesthesia" has a bit of a synth atmosphere. OK, now we can talk about the final "Blue Desert in a Black Hole", the closest to atmospheric progressive metal from this band, and a very interesting way to go out in a bang.

Mnemesis is what I can consider a happy ending to the band's career, but the aftermath ain't. One of the guitarists Victor-Ray Salomonsen Ronander left after a final show in November 2013, then the band went on hiatus and the other members pursued other paths. And recently, Bideau passed away suddenly, one of a few shocking tragic metal musician deaths in May 2022, one other being Trever Strnad of The Black Dahlia Murder. Nonetheless, Mnemic's tenure was quite a home run, releasing amazing records after records, and they're simply good at blending different styles so skillfully. You won't regret getting into the zone of this band of modern legend!

Favorites: "Valves", "I've Been You", "Mnemesis", "There's No Tomorrow", "Haven at the End of the World", "A Matter of Choice", "Blue Desert in a Black Hole"

The consistent path of Mnemic continues! Vocalist Michael Bøgballe was with the band for their developing debut Mechanical Spin Phenomena and their superb sophomore The Audio Injected Soul. Then for their third album Passenger came the late Guillaume Bideau. He had done an outstanding job with his growls and cleans in that album, and did he keep it up in this album? Yes sir!

His amazing vocals are part of this satisfying plethora of djenty industrial/groove metal. In the music, there are solid heavy guitars and electronic soundscapes, all a great reason to consider this album underrated.

The opening title track brings back some of the band's earlier riff technicality especially in the fast thrashy verses, but they haven't forgotten about their more recent catchy choruses worth singing along to. "Diesel Uterus" is well-suited for my modern taste. "Mnightmare" is another heavy banger. "The Erasing" has some of the band's strongest groove with an interesting catchy riff after the chorus.

"Climbing Towards Stars" somehow reminds me of if they took Excessive Force's "Ride the Bomb" or Daft Punk's "Harder Better Faster Stronger" and transform either song into their own track of their usual style. Though it's not as forgettable as "March of the Tripods" that drags on into the end, but the high industrial metal quality is still up. "Fate" is another highlight that helps the band achieve what they need here. "Hero(in)" has some of the best elements of their sound, including a regular lead groove staying together with an irregular beat, arranging things in a more atmospheric fashion.

"Elongated Sporadic Bursts" seems to drag on longer than it should, but it still works a bit well. "Within" is another well-accomplished feat, where the nice melody is in engaging contrast with the heavy groove. "Orbiting" adds a bit of Voivod-like progressiveness and Zao-like mid-tempo hardcore into the usual industrial/groove metal mix. However, if you're getting any one of the bonus track editions, I should warn you, "Dreamjunkie" is mostly some mainstream-sounding junk that shall stay as a bonus track.

Once again, Mnemic proved themselves to be a monstrous cauldron of influences from Fear Factory and Meshuggah. I think one real regret this band has is not having as much recognition as they should have, which I guess is one reason for their split, though not before one more album. Take on the system!

Favorites: "Sons of the System", "Mnightmare", "The Erasing", "Fate", "Hero(in)", "Within"

Mnemic (the Greek word for "memory" and an acronym for 'Mainly Neurotic Energy Modifying Instant Creation') has packed pummeling punches during their 15-year existence. They've built up quite an audience with their demos and first two albums, including The Audio Injected Soul with its blend of speed, texture, and aggression.

Passenger takes a twist in the step with ex-Scarve vocalist Guillaume Bideau (RIP), along with Christian Olde Wolbers of Fear Factory in production work. The album takes on human entropy in emotional, psychological, and spiritual directions, something already discovered in Stanley Kubrick's Space Odyssey. Lots of prophetic inspirations in the themes! Drummer Brian Rasmussen blasts forward in time with his volcanic drum kit, with more variation than The Who.

"Humanaut" is the two-minute intro that blasts off into the industrial metal chaos of Circle of Dust and Strapping Young Lad right away. "In the Nothingness Black" has beautiful vocal harmonies and keyboards to keep you hooked. "Meaningless" attacks with great guitar dueling that marks a new addition to the evolution of the band and modern metal. "Psykorgasm" has powerful riffing with a beautiful melody to go along with it. The shape of time is changed with barely any effort. You can also hear a vicious guest appearance from Carcass frontman Jeff Walker.

The intro of the vicious "Pigf***" is insane, and so is the switch to more of the Meshuggah-like industrial death/thrash influences. "In Control" demonstrates the greatness of Bideau, especially in the powerful melodic chorus. Things get a bit unremarkable in "Electric ID Hypocrisy", but it still works. "Stuck Here" is so progressive, I wouldn't be surprised if that's part of the motive for the direction Dir En Grey would later take.

"What's Left" once again lacks some interest, but the band manages to maintain their loudness. "Shape of the Formless" once again pushes the Fear Factory/Strapping Young Lad influences they're known for. Making up a lot for the slight bit of mediocrity in two of the earlier songs, the closing epic "The Eye on Your Back" is bound to keep you awake with its cycling through some of the best vocals, keyboards, and riffs in this offering. The power that makes up most of Passenger is revisited, while not as Meshuggah-infused as their earlier albums. There's also a killer bonus track "Zero Synchronized".

"Passenger" has that intellectual emotion going on throughout that has kept Mnemic on the metal map. They've had their place in the industrial/groove metal realm that they didn't perfectly seal in the beginning but had since built it up to how it is that would still be praised 15 years forward!

Favorites: "In the Nothingness Black", "Meaningless", "In Control", "Stuck Here", "Shape of the Formless", "The Eye on Your Back"

Denmark is probably the quietest country in Scandinavia when it comes to metal. Not that it ever was quiet, but the amount of metal bands there isn't as huge as Norway, Sweden, and Finland. There are a couple prominent death metal bands hailing from there, Hatesphere and Illdisposed, along with the scene branching out into the death-doom of Saturnus, the progressive power metal of Wuthering Heights, and finally, the modern industrial/groove metal of Mnemic. Their smashing debut Mechanical Spin Phenomena is a great start of a journey for the band and their listeners, but if you're looking for something to perfectly seal that deal, prepare for the Audio Injected Soul!

Mnemic's futuristic metal sound once again has thrashy chaos and atmospheric power added to the mix. There's slightly more originality compared to the debut that had heavy amounts of Meshuggah influence, now forming together the band's original style. You can recognize the fun storming riffs and wonderful harmonic melodies. The vocals by Michael Bøgballe keep things all in place, though he would leave the band the following year.

We start off the album with "The Audio Injection", a short intro recorded using the band's special AM3D technology. "Dreamstate Emergency" follows as a straight-up banger. Heaviness is totally on their agenda here, though there's a soothing chorus before more of the riff attack. The ultimate anthem for the band in a nutshell! "Door 2.12" keeps up the wild pace. Its chorus is one of the best here and is definitely worth your money if you're buying it. "Illuminate" has some things drowned out, but it's not bad at all and has kept the album's perfection up.

Released as a single, "Deathbox" has tons of madness to be injected in your mind and soul, especially in the AM3D technology. "Sane vs. Normal" has some more wild heavy wackiness, though with a serial killer lyrical theme ("I made the mistakes I couldn’t afford to make, Hell, they even knocked on my door because they found a dead girl in the lake"). More personality is included in "Jack Vegas", including the dialogue performed by Bøgballe in multiple vocal styles.

Shooting the target further is "Mindsaver". Then there's more atmosphere in "Overdose in the Hall of Fame". It's unfortunate that "The Silver Drop" doesn't stand out the way it should, but the perfect of the album is kept intact. In saying that, you might think my reaction to the band covering the Duran Duran hit "Wild Boys" wouldn't be pretty. And the truth is, nothing is spoiled! It's another pleasant example of a band metalizing a pop hit to be way better than the original. However, it's not as spectacular as the highlights of the album, while still a wild fun ride.

The Audio Injected Soul is an album to recommend for the wildest metalheads out there. It's so interesting how catchy and melodic this album is while having the usual heavy chaos. This is modern thrashy industrial/groove metal that fans of Fear Factory, Strapping Young Lad, and Machine Head should get into. A standout in the trek of Denmark's finest band of modern futuristic metal!

Favorites: "Dreamstate Emergency", "Door 2.12", "Deathbox", "Jack Vegas", "Overdose in the Hall of Fame"

I just realized that I haven't reviewed this Watchtower EP yet, and since upcoming music from this band was announced to be in the works on the month I've written this review, it's a good time to do that. It's mathematical! No there isn't any mathcore. Watchtower is known for their jazzy progressive tech-thrash sound that continues on in this EP that contains three 2015 singles, one 2010 single, and a brand new composition, altogether forming a near half-hour of brain power.

It must've have been a joy for fans of mathematical prog-thrash witnessing the return of these Texan legends. However, for those hoping to hear Jason McMaster return from their debut Energetic Disassembly, that's not the case here. At least we have Alan Tecchio, whose previous album with the band Control and Resistance is also a classic.

Coming back with their prog-thrash sound still stable is the under 4-minute "M-Theory Overture". It goes beyond overture levels by getting listeners geared up for the thrashy riffing and time changes coming up in the next 4 tracks. They continue to give their longtime fans delight! "Arguments Against Design" is where Alan Tecchio steps in with his memorable vocal range, as the thrashy riffing bounces alongside solid leads.

"Technology Inaction" is a marvelous blend of progressive complexity and thrashy aggression, with catchy vocal hooks, "T-T-T-T-TECHNOLOGY INACTION!!!" Next track "The Size of Matter" isn't too bad, having some spacey riffs and leads before a surreal psychedelic bridge. That's the 2010 single! Finally, "Mathematica Calculis" is the new track, a 10-minute epic (their longest song) of the usual progressive thrash, though toning down the earlier aggression for more expansive aspects. Those aspects being the amount of twists and passages almost as much as Dream Theater and Liquid Tension Experiment. Absolutely wild!

Besides Watchtower, other progressive thrash bands were making their return from the void in the 2010s, such as Toxik and Blind Illusion. While those bands end up taking on a different sound from their respective magnum opuses, Watchtower have never abandoned their roots, and they've made it more exciting with different complex sections that turn this release into an expert-level metal sudoku. Not to brag, but I'm one of those listening experts. The Math Gods have give us a sine- I mean, sign!

Favorites: "M-Theory Overture", "Technology Inaction", "Mathematica Calculis"

I love this blend of progressive metal and thrashy technical speed metal. I can get the fun wackiness of prog and speed metal's eponymous aspect without having too much of either side. This album was made by an innovative group of talented musicians, wearing their sound with pride but not too much pride, and it's really impressive. Ladies and gentlemen, this is a serious start to the technical side of metal that we know today!

The bassist and guitarist work well like a duo, a possible inspiration for that kind of aspect in later bands. The thrash-like guitar riffing and bass tones fit like a glove, despite the difference in octave, and even more so in the interplay between searing leads and bass harmonies. I'm not super into Halford-like falsetto vocals so much right now, but the ones here have spot-on beauty. Barely any other vocal style can fit into this kind of album. And MAN, these are some mighty drum skills. I wish my family didn't give away an electronic drum kit I once had, so I can continue learning that instrument. You never have to rewind because all those instruments can be engraved in your mind.

The tracklisting is different in some editions, but for this one I'm reviewing, "Violent Change" starts off with a thrashy riff of violent energy. It's different from what you would expect in the mid-80s, with the drums and vocals sounding punky before rising close to classic heavy metal. It's insane how groundbreaking this album was when it was released in 1985, and you can understand the NWOBHM elements they've had there. And there's a lot of vocal power in that chorus! "Asylum" has one of the best solos here, near the two-minute mark, and would make you wanna repeat that part. It's those instrumental sections where the guitar and bass jam all over the place, and the drums tag along for the ride. That can also occur in the beginning of one of two 6-minute epics, "Tyrants of Distress", another one of the best here with great verses and chorus.

"Social Fears" has thunders in with an ominous bass line and a riff that's catchy as h*ll. More of the amazing bass comes in a short solo after the chorus. The title track picks up the speed, and it has the best of all the instruments and vocals. Seriously, these guys have done a splendid job keeping up the expectations required for an album's title track. Prepare to get blown away by the bass solo near the 3-minute point! The following track "Argonne Forest" slows down the pace a bit, and tells a story about the Forest of Argonne's role in the first World War. A catchy bridge shows the guitar heading high into frantic soloing, bringing back some of the speed.

Next up, "Cimmerian Shadows" has a slower pace and lower vocals than the rest. While the aforementioned title track is the highest point, this one is the lowest and almost comes out as bland. Still it doesn't affect the album's perfect glory. "Meltdown" makes up for that by a ton as perhaps the second-best of the album, with fast tempo, an unforgettable chorus, and incredible soloing. It's probably one of the first ever songs by the band, recorded a couple years prior for a compilation.

It's many progressive/technical metalheads' dream to have this band as teachers for music lessons. Energetic Disassembly is an album that's so ahead of our time and showed the band assembling the genres we know as progressive metal and technical speed metal. Consider your mind blown!

Favorites: "Violent Change", "Tyrants of Distress", "Energetic Disassembly", "Meltdown"

A lot happened in the months between the recording and release of this album. While waiting for its release date to be decided, Lorna Shore began touring with other bands in support of the album with ex-Signs of the Swarm vocalist CJ McCreery. He recorded vocals for the album, and the band released 5 singles in advance. Then when a scandal of abuse allegations involving McCreery occurred, caused by the Weinstein effect, he was fired. The band wasn't sure about releasing the album at first, but I'm glad they done so. All drama aside, Immortal is the start of Lorna Shore's perfect streak, and one of the greatest deathcore releases on Earth! The best of their previous releases have been given deeper personality and a more atmospheric background, so sinister and ethereal. With that along with the brutal breakdowns and symphonic black metal influences, this would give the band a spot in the deathcore hall of fame (there is one now!).

Deathcore has crucial aspects for records of that genre. You need technical atmosphere and heavy aggression in careful balance so the heavier listeners can praise it. Lorna Shore have proceeded in the perfecting that mix for Immortal, and it's no secret. They were slowly building up symphonic black/melodeath elements into their deathcore throughout their powerful tenure, and this release has marked the perfect prominent point for those elements, leaving their earlier releases to lower their heads in regret.

Unleashing that aspect right off the bat, the epic powerful title opener is a surefire deathcore highlight! McCreery lets out every vocal style he could possibly do throughout a thick sea of brutal glory. "Death Portrait" is a brutal work of splendor to fit well with a dangerous battle against demons on top of a snow mountain under a solar eclipse. An excellent mental masterpiece! "This Is Hell" is a heavy onslaught bursting through the gates of Hell, unleashing more demons, running as fast as the immaculate insanity of drummer Austin Archey. His amazing skill has grown since Flesh Coffin, shining in many songs like that one, alongside breakdowns bursting through in full force. McCreery's brutal vocals can get you hooked from start to finish.

Next track "Hollow Sentence" is a brilliant vocal battle between the growling of the one-man army that is McCreery vs. a multi-person choir, almost like a vocal exchange. There are huge dramatic theatrics while staying menacing. The riffing is also impressive, alternating between the slow breakdown and sledgehammering sections. "Warpath of Disease" continues that vocal technique, alongside brilliant fretwork and riff immolation from the two guitarists. The vocals once again have catchy hellfire. "Misery System" has the most impressive technicality in the album.

In "Obsession", the guitars sound so ethereal that the brutality is mostly in the drumming. At this point, you might find a bit of repetition in the album, especially in the vocals, with all this savagery leaving you numb, but honestly, that's just what the genre wants to convince you to think. I can still find a heavy amount of creativity here and face the enemy head-on despite what can be considered too similar. McCreery keeps up his regurgitating-like vocals in "King ov Deception" (again with the black metal "v" spelling), and I mean that in a great way. "Darkest Spawn" is another epic highlight with vocals pulverizing like a motherf***er. That song along with the earlier "This is Hell" were the first two singles for the album and with McCreery as vocalist, so those tracks make a great heavy starter duo. "Relentless Torment" shows the band going out in skillful fury. You get to hear the last of McCreery's catchy yet brutal vocals in this offering. Honestly, I'm the kind of person who doesn't directly associate art with artist, so I prefer to enjoy his vocals without thinking too much about the atrocious things he had done.

Lorna Shore has made an impressive leap into a different era, beginning with Immortal, a bleak brutal journey. This is Lorna Shore's way of starting the new decade in a bang, an immolating offering relentless heaviness and gloom. Despite being a decade later than Oceano and Whitechapel, this band shall be immortal in the deathcore realm!

Favorites: "Immortal", "Death Portrait", "Hollow Sentence", "Misery System", "Darkest Spawn"

Lorna Shore has shown a lot of potential that I can finally witness thanks to my brother recommending this band to me. Straight outta New Jersey, this band unleashed some of the most immensely talented deathcore around beginning with 2015's Psalms, and while that album is superb, a couple tracks were dragged down by the cliche overthinking of breakdowns. Would they make their next album solid and in a greater level?...

H*ll yeah, they did! Flesh Coffin continues the technical atmosphere and furious groove of Psalms with slight cleanup and enhancement. Of course, they were the same band that they were in their debut, while slowly building up their greatness.

"Offering of Fire" already proves the band's strength that has never withered, including vocalist Tom Barber, straight from the first verse. After all that crushing aggression in the first track, shining more with shredding soloing is "Denounce the Light". Next up, "The Astral Wake of Time" shows non-stop decimating speed in the drumming skill. Absolute blistering technicality in that one!

The rhythm section of bass and drums continues to dominate in the complex "Desolate Veil". Up next is "Fvneral Moon" (looks like they're using the black metal "v" spelling), which is such a great highlight. There are two breakdowns that would burst out of nowhere and crush your bones, then you're pulled back into speedy soloing and fantastic riffing. A much better balance than that small fraction of their debut! "Void" shows the guitar duo hammering their skills hard. Adam De Micco and Connor Deffley reign as one of the best duos in deathcore, though Deffley's time with the band would end after this album. Some of the catchiest lyrics and verses appear in "Infernum".

"The//Watcher" (what's with those slashes?!?) expands on the band's symphonic black metal influences that they would have more of in subsequent albums while keeping the "-core" part of their sound in mind. A fantastic highlight with wonderful background melody! "Black Hollow" displays more of Barber's incredible vocal range, enduring more professional energy than many of the more famous heavy bands. The brutal title closing anthem can cut you to the bone, all the way to the last of Barber's growls.

There's no doubt than Flesh Coffin has shown the band reigning as one of the best blackened-ish deathcore bands in the late 2010s, probably more than Carnifex, with technicality and melody added to the darkness. There's almost nothing disappointing about Lorna Shore, and even then they can improve. Here's to more of their excellence!

Favorites: "Offering of Fire", "The Astral Wake of Time", "Fvneral Moon", "The//Watcher", "Flesh Coffin"

Life falls apart, death is your only way, your fate lies in higher power, and no matter how much divine salvation you pray for, you can't escape the brutal intense apocalypse... This is Hell! Psalms is a crushing deathcore offering of infinite power unleashed by Lorna Shore to the world. Only those brave enough to dive into the deepest darkest depths of heaviness can access all that deathcore has to offer.

Anyone who has followed the band since their EP trio of Triumph, Bone Kingdom, and Maleficium knows the heaviness to come. Psalms is perhaps the heaviest start of the band's true adventure, adding brutal breakdowns with technical twists. Drummer Austin Archey has pretty much the ultimate death metal/core weapon.

Archey is already dominating with his arsenal in "Grimoire", boldly kicking through drum patterns and cymbals. An excellent opener! And you can hear the shouts and growls from vocalist Tim Barber from the start. "Harvest Realms" is another excellent dynamic track containing shredding soloing balanced with aggressive breakdowns. "Throne of Worms" has some slight filler, but it's still quite good.

The vicious "White Noise" is an anthem of deathcore devastation, with drums kicking and smashing skulls like cannonballs launched into the face. Guiding Archey along in the assault is founding bassist Gary Herrera, providing heavy patterns in synchronization. More of the wonderful drum kicking is included in "From the Pale Mist". Punishing death metal riffing are in a brilliant mix with brutal breakdowns. "Infernal Haunting" continues that excellent combo, though the breakdown lacks its need buildup. "Death Gowns" has some relevant moments, while sounding noticeably similar to Thy Art is Murder at that time.

"Wretching in Torment" unleashes its might in its 30-second intro than drops into a breakdown like a car screeching into a brutal crash. Although it's a great track, it might work better live. "Traces of Supremacy" makes amends for those slight mistakes in sinister fury. "Eternally Oblivion" is the 5-minute epic where the guitarists roam and Barber lets out his echoing yelling and growling that can almost rival The Black Dahlia Murder's Trevor Strnad (RIP).

Lorna Shore has made some of the heaviest deathcore magic-craft that is learnable for the new generation of music. With dark atmosphere, technical melodeath-like riffing, and sludge-ish breakdowns, the heavier fans can gather around for a moshing party filled with this punishing aggression. You can't be spared from the deathcore inferno!

Favorites: "Grimoire", "Harvest Realms", "White Noise", "From the Pale Mist", "Eternally Oblivion"

Maleficium is the 3rd Lorna Shore EP and last one before the band was signed to Density Records and began making full albums. It is one of the most brutal releases they've ever done, only for fans of the band and the genre brave enough to go down the back roads. Here they're already hinting at the Lorna Shore we all have known.

Deathcore was pretty much dying in the 2010s, and any band of the genre back then had to resort to something unique that had barely been done before. Diverse vocalist? Check. Speedy drummer? Check. What's left? Oh yeah... Every member has to have that level of professionality to give this sound a punch. And throw in some new and different aspects like ambient background keyboards. Just make sure deathcore/metal fans have what they want to stick around for these pummeling 20 minutes.

Opening track "Godmaker" has it all in 4 and a half minutes of perfection. Ominous ambience creeps in throughout the first minute, then they launch into relentless riffing, blast-beats, and bass bounces. And there's more of that to come! We hear a bit of the floating keys in "Cre(h)ate". The song is quite decent. Not the best, but I've heard worse.

The best of the extreme vocals of Tom Barber comes in the title track. The soloing helps make it another standout. "Born in Blood" has heavy breakdown and deathly growls without ever calming down. "Accumulatory Genophage" ends the offering with some of the strongest drumming and darkest soloing around. The lyrics and vocals can remind some of Whitechapel and Thy Art is Murder because of how brutal they are, "So say goodbye to your father, your mother, your sisters and your brothers".

Even a short EP like Maleficium can be destructive, though I prefer the blend of epic and extreme that would come up in their later albums, more glorious than the last. Still if you're up for Lorna Shore at their most brutal, this EP is the right call....

Favorites: "Godmaker", "Maleficium", "Accumulatory Genophage"

After a decent yet rough start with the more metalcore-fueled Triumph, Bone Kingdom severs the band's ties with that genre for just pure technical deathcore. It's better and more worth repeated listening, but I think some songs could've had a bit of excessiveness trimmed to reach the higher levels of subsequent Lorna Shore releases.

I say the songs are all pretty good, though not worth detailed mentioning. However, I have a couple songs I wanna talk about that I can give as many spins to as their later material, starting with "Life of Fear". The song was the band's first exposure to internet fame when it was featured in one of those YouTube cat videos (popular before the reign of pop music videos). Truly a killer favorite deathcore track of mine! The title track is quite awesome too.

Alongside the change of sound, the production is better improved and has more impact. The structure is less formulaic and would shape up the uniqueness the band would later obtain in the later part of their discography. It's still a little far away from that though....

Favorites: "Life of Fear", "Bone Kingdom"

Epic deathcore heroes Lorna Shore began as more of a death/metalcore band in a similar vein to The Acacia Strain and Emmure, maybe even the heavier songs of Parkway Drive and Bring Me the Horizon at that time, in their debut EP Triumph. Those other bands have done it much better than this sh*t though. Keeping things decent is the vocal work by Tom Barber who was the original vocalist before he switched to Chelsea Grin in 2018. The album cover is beautiful too. I can jam out to the vicious "Second Skin". But everything else doesn't sound all that great. I'm a f***ing lot more used to their later sound that would start to shape up in the next EP Bone Kingdom onward....

Favorites (only song I really like): "Second Skin"

While Empire of Dark Salvation is Gothminister's breakthrough and my favorite album from their electro era, Happiness in Darkness is better known to the rest of the world. The music from that album is definitely worth playing clubs from dusk to dawn. Anima Inferna is a great transition from that era into a new one, one with a more expanding sound and a lot of new surprises...

Utopia showed Gothminister gaining higher ground than before! New stuff has been added to their dark gothic industrial metal such as more accessible pop elements, in a way that increases their audience instead of decreasing.

The intro "The New Beginning" is indeed a sign of the beginning of a new era, though it could do without the baby crying. "Someone Is After Me" is an action-packed hit for the dance floor. Powerful strength comes from the beat and melody. You'll never be bored when you listen to this amazing action. The title track is a great catchy example of the gothic-infused industrial metal I prefer. "March" is a short march to the next track.

The freaky "Horrorshow" really dominates. Exploring the next track "Nightmare", there are nice gothic melodies, but the spoken bridge midway through kind of ruins the vibe. The song "Afterlife" may seem cliche in the title, though it's a more serious track. "Helldemon" is more cliche in the interlude itself, but it's fine.

At some points in "All Alone", the storytelling can remind some of King Diamond's concept albums, yet the sound has more simple catchy melodies and sounds far closer to Marilyn Manson's Antichrist Superstar than King Diamond's Abigail. "Purgatory" is one more orchestral interlude. "Eternal" isn't the best song here, but still listenable. Towards the end is the excellent "Raise the Dead". And finally, "Boogeyman" finishes the album as a complex entertaining 6-minute epic.

Utopia is clearly something I would recommend to fans of gothic-infused industrial metal. It can certainly please you to the bitter end. It's been an interesting journey through Gothminister's discography so far, and it continues!

Favorites: "Someone Is After Me", "Utopia", "Horrorshow", "All Alone", "Raise the Dead", "Boogeyman"

The dark journey of Gothminister continues on, and I'm already midway through what they've had so far. I think you can consider Anima Inferna the transition album between the two surrounding 3 albums eras; the electro side and the epic side.

Whichever era the band is in, they've been engraved to the stone of Norwegian dark industrial metal. Bjørn Alexander Brem enjoys doing what he loves. However, he thought about becoming a lawyer again after feeling like he achieved enough from his electro-era trilogy. Luckily, he didn't stop! He still felt up for some more music to create. He knows how to make a living while doing he and his fanbase love.

The album opener "Stonehenge" begins with heavy guitar crunch and interesting synth harmonies. Then the guitars calm down to let Brem's baritone vocals shine. Sounds quite evil for a then-recently-married and domestically happy man, proving his ability to maintain the earlier darkness. Optimistic lyrics ain't gonna make the gloomy vocals fade away in this battle of life and death. The album's single "Liar" has an electro-synth intro that expands through the guitars and vocals. Brem has excellent vocal range and harmonic effect. The track drives through in the beat and melody. Next track "Juggernaut" starts with guitar that again fades slightly for Brem's vocals. After being primarily guitar-focused, the buildup makes a calm descent into the atmosphere of synths and strings.

"616" switches again to an interesting synth intro before the guitar and drum strength comes again. Brem's vocals become grittier and deeper, similar to the earlier albums, that wasn't heard in this album until that point. The electro-synths fully dominate in "Solitude", while Brem's moody voice and driving percussion make their entrance, balanced out by the guitar. That's probably one of the darkest tracks with the most electronic synths. "The Beauty of Fanatism" sounds much different with higher melody. Brem's vocals remind you that there's more to expect than that song innocent melody. The beat eventually picks up, and there's more aggressive mood in the lyrics. There's pretty much epic evolution in that creative composition! The title track opens with a faint male operatic chant, then a drum beat marches in alongside symphonic strings. Brem's vocals have dynamic fury as usual. The music fits well and gives you the right amount of attention.

The interlude "Fade" transitions out of that track in orchestral fashion. Then it leads into the next track "Beast" which almost has the evilness of blackened death metal, but is really just a melodic song with more singing in the band's usual style. Wrapping things off is the outro "Hell Opens the Gates", subtly transitioning from the previous track with simple synth and barely any percussion. After some vocal sample effects, an evil voice ends it all. There's also a bonus remix of "Liar" which, while sounding way different from the original track, works quite well.

Anima Inferna is quite excellent, with every full song working smoothly, though it would've been perfect without the somewhat pointless interludes. It's quite short at just 40 minutes, so there should've been more. Nonetheless, the vocal range is brilliantly mixed with the electro-industrial metal sound. It's just so good with astonishing melodies! If you enjoy Gothminister's earlier electro trilogy, you'll be up to hearing the sound leveled up. And if you're new to this band, let me tell you, the legendary greatness is real!

Favorites: "Stonehenge", "Liar", "616", "The Beauty of Fanatism", "Anima Inferna"

"Happiness in Darkness" is the perfect ending to the perfect offering that is Gothminister's second album Empire of Dark Salvation. Would they expand on that sound in their third album named after that track? Let's find out, shall we?...

Bjørn Alexander Brem was once a lawyer, similar to Stephan Pastis before his main job as the creator of comic strip Pearls Before Swine. Brem's main job is being the leader of band spawning out of a side project, Gothminister. The debut Gothic Electronic Anthems was a hit with the critics, but it wasn't until Empire of Dark Salvation when they became one of, if not THE, biggest gothic industrial metal touring acts. This band has really proven to us that there's... Happiness in Darkness!

The band relentlessly hits the club with opening single "Dusk Till Dawn", picking up where they left off with industrial rock/metal guitars with monumental orchestra. What's really good for this song is the chorus with top-notch vocals from Brem. "Darkside" ascends with gloomy choir atmosphere before powerful drumming, alongside more of the hard-hitting guitars and orchestra. "Your Saviour" is the first of 3 songs in the album to feature the serene vocals of former the Crest/Theatre of Tragedy vocalist Neil Sigland. I could also hear a bit of the synths that are somehow reused by Dead by April.

The next track "Freak" is interesting and rather, well, freaky. Following this is "Sideshow" with an opening audio sample of a circus ringmaster, "We didn’t lie to you folks, we told you we had living, breathing monstrosities." The strings from that sample segue into brand-new mighty strings, pushing forward with the heavy drumming. The softer melodic "The Allmighty" is a nice surprise intermission, with only Sigland singing, sounding like a medieval princess.

"Beauty After Midnight" has a darker heavier sound, similar to Motionless in White's more industrial works but without any of the metalcore screaming. The ballad-like track "Emperor" is still a rocker at times while progressing through the band's softer side, along with the last of Sigland's vocals. "Mammoth" is one mammoth of a song in the more dynamic parts. "Thriller" is superb cover of that Michael Jackson hit, though it's clear that Brem is straining beyond his limits. There's an extended version that's twice as long and includes part of the original narration by Vincent Price.

Gothminister continue their right path, as Happiness in Darkness pleases both old and new fans. It's so catchy with barely anything flat. That's great value needed for an album of gothic-esque industrial metal!

Favorites: "Dusk Till Dawn", "Darkside", "Sideshow", "Beauty After Midnight", "Thriller"