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Adding symphonic black metal elements to deathcore is something that has been done for over a decade, but this kind of sound has been popularized by Lorna Shore and several other bands have been following their lead. I'm sure Worm Shepherd have been following that band's footsteps since before the "To the Hellfire" boom, having formed on the day Lorna Shore's Immortal came out, and releasing their own album In The Wake Ov Sol later that year. And now comes their second album, Ritual Hymns!

Worm Shepherd has a little more maturity than other bands in the epic deathcore league. The writing is tighter and darker. The guitars and keyboard orchestrations are in an awesome balance, the latter they know how to use wisely in their brutal sound for a perfect experience of death and glory.

The opening title track is a solid grand example of that band. The atmospheric keyboards are quite effective while letting the heaviness shine. It's like a bridge between the Lorna Shore tracks "Immortal" and "Welcome Back, O' Sleeping Dreamer"! Then we have "Ov Sword and Nail", another crushing highlight. The breakdown and vocals are balanced out with occasional small experimentations like the bass intro. When each member has their own moment, it shows that the vocalist isn't always the leader, unlike other deathcore bands. "The Raven's Keep" would've been as much of a highlight as the first two tracks, but its early fadeout is kind of a small issue. Small enough to still maintain the album's perfect score. The song itself is one of the more blackened tracks here with its rapid pace.

More ideas roll in through "Chalice ov Rebirth" including another b*lls-out breakdown. As great as that is, I feel like there could've been slightly more momentum in the track. I feel like the inclusion of guest vocals by Lucca Schmerler in "Blood Kingdom" is a bit odd, though it doesn't affect much. Abuse allegations aside, his vocals rule in the band he was once in, Mental Cruelty. The symphonics shine the best in "Wilted Moon". That epic highlight is almost a redux to the Lorna Shore track "And I Return to Nothingness".

We have more monstrous vocals in "A Bird in the Dusk", from vocalist Devin Duarte and guest vocalist Scott Ian Lewis (Carnifex). Despite being hard to tell apart, it adds quite a difference to the usual delivery. "The River Ov Knives" has some cool occasional cleans. If anyone thinks clean singing only belongs in melodic metalcore/emo bands like Black Veil Brides, they're dead wrong. "Winter Sun" can almost be a deathcore tribute to the band Wintersun with its blackened symphonic power metal-ish guitarwork. It might just be the strongest epic deathcore album ending track!

Ritual Hymns is another true definition of symphonic blackened deathcore. You really gotta enjoy the tight serious writing. While Lorna Shore hasn't done anything new since their album Pain Remains released later this year, Worm Shepherd is still active, and I look forward to exploring more of this band's material and the epic deathcore realms!

Favorites: "Ritual Hymns", "Ov Sword and Nail", "Wilted Moon", "A Bird in the Dusk", "Winter Sun"

I gave the new Mental Cruelty album some listening and a review shortly after it first came out. I enjoyed the Lorna Shore-esque brand of epic deathcore, but I thought the symphonic black metal side was a little too much. Fast forward a couple years and my tolerance has grown immensely. I now find Zwielicht an awesome offering that's like Lorna Shore but more depressive, melodic, and blackened. The lyrics have a lot depth and death in them, and that's something modern extreme metal fans shall love!

Stepping in on vocals is Lukas Nicolai, replacing Lucca Schmerler after Lucca's firing due to sexual abuse allegations. As brutally good as Lucca is (despite the allegations), Lukas is a total powerhouse when it comes to growls and screams. He has even added an uncommon aspect in deathcore, clean singing.

"Midtvinter" is a dark ominous intro to get you ready for an epic journey. "Obsessis a Daemonio" is a total blaster which you might think it's Dimmu Borgir on steroids. At over the 3 and a half minute mark, Lukas attempts some clean power metal-like singing like some of the male guest vocalists of Avantasia. The earlier neoclassical soloing has its comeback in "Forgotten Kings" in clear prominence.

One of the most Lorna Shore-like songs here is "Pest" which is a brilliant highlight. Lukas is quite talented, though he can't surpass Will Ramos. No one can beat the epic deathcore vocal king! Then we have the slow-ish "Nordlys" which is kind of a brutal deathcore take on the more dramatic Scandinavian melodeath bands out there. "Mortal Shells" combines many elements of the band's previous albums to make one of the most diverse highlights in the album. Sinister guitar and vocals drifting through along with the crushing drumming for a powerful experience.

The title interlude is a German-sung Nordic folk piece than can easily fit well in an Elder Scrolls game. "Symphony of a Dying Star" has riffing and soloing sounding much closer to the epic melodeath of Insomnium and Wintersun. Greatly exemplifying the black/death metal drumming and guitarwork is "The Arrogance of Agony". The epic finale "A Tale of Salt and Light" has the symphonic death metal/core of Ex Deo and early Betraying the Martyrs to make one of the most glorious deathcore tracks ever!

How would I consider Zwielicht? F***ing awesome, that's what! This is symphonic melodic blackened deathcore with sharp riffing and mystical atmosphere freezing away the earlier brutal hellfire. Not to mention those fast blasting drums and Lukas' wide-ranged vocals. Their best work besides Purgatorium, maybe slightly more!

Favorites: "Obsessis a Daemonio", "Pest", "Mortal Shells", "Symphony of a Dying Star", "A Tale of Salt and Light"

Ever heard the idiom "When Hell freezes over"? It is based on the eternal fires of Hell, and normally it's used to describe something that can never happen. The idiom fits well here in so many levels, yet the event really does happen. People who thought the deathcore hellfire wouldn't mix with the freezing cold of symphonic black metal were proven wrong by a new legion of bands. While Lorna Shore would take the throne of popularity, Mental Cruelty would bring the blend further.

Formed in Germany in the mid-2010s, Mental Cruelty really pushed extreme to the extreme with their string of releases from 2016 to 2019. Their sound had the technicality of Rings of Saturn and the brutality of Signs of the Swarm. From A Hill to Die Upon onwards, this style filled with breakdowns and blasts have taken a more epic blackened turn.

The chilling intro "Avgang" already hints at the new direction with an acoustic folk melody and background electric strums. Then the first actual song "Ultima Hypocrita" fires away with a fantastic metal blend of epic beauty and extreme brutality. This is the true start to their new symphonic blackened deathcore era, and I especially love the blazing soloing. "Abadon" still has some heavy slam while not losing any of the orchestral epicness. This epic brutal mix just works so well!

The meat ends up barbequed in "King Ov Fire". And again in "Eternal Eclipse", going savage with their symphonic deathcore. "Death Worship" has nothing worth complaining about at all, having destructive growls drilling into your ears like a surgeon.

"Fossenbrate" is a mellow interlude with sounds of nature. Then the forest is burnt down into the RuneScape wilderness in the title track, filled with blasting fury. Next track "Extermination Campaign" continues the destruction of everything. The melodic/symphonic grandeur as bleakness to the apocalypse. The 7 and a half minute final epic "The Left Hand Path" has the last of this epic blackened deathcore fire, packing it all up with the gigantically packed track.

Extreme metal can sometimes have some grandeur, which is what makes Mental Cruelty so unique and special. Even though abuse allegations towards Lucca Schmerler would cause him to be out of the band the following year, the music of the band he was in shouldn't be forgotten. Savor it all!

Favorites: "Ultima Hypocrita", "Abadon", "Eternal Eclipse", "Extermination Campaign", "The Left Hand Path"

Mental Cruelty's debut Purgatorium is filled with lyrical blasphemy and gore, brutal riffing, and vocals ranging from low growls to high shrieks. Despite all that violent rage, I actually love it. And we have more of this crushing German deathcore quintet's sound in Inferis!

This is the soundtrack to the hellish Land of the Dead that the album title translates into. Pure brutal deathcore lasting slightly longer in total length than Purgatorium. Oh I forgot to mention that Purgatorium has guest vocals from Duncan Bentley, Diogo Santana, Ben Mason, and Daniel Burris. In Inferis, guests include vocalists Dickie Allen and Jason Evans (from Infant Annihilator and Ingested, respectively) and guitarists Jack Simmons and Marco Bayati (from Slaughter to Prevail and Desolace, respectively).

The album's title intro lurks in like a horror movie. Then the first song "Planet of Misery" opens with rapid drumming, dark guitar chords, and death growling. The top-notch production puts everything in front, thus making the slam-deathcore slam hard onto the surface. We also have some soloing energy before a brutal breakdown. "Blood Altar" marks another one of my favorites here, adding killer variation in the riffing and vocals. Once again, it ends with a downtempo breakdown to remind some of Osiah. Next up, "Tormentum" is another destructive track, with Dickie Allen's guest vocals towards the end.

"Priest of Damnation" annihilates with fast riffing and the technical leads of Within the Ruins. "Mundus Vult Decipi" has Jack Simmons' guest guitarwork. The riffing and overall instrumentation are absolutely insane. The sludgy breakdown and the long audio sample that comes before it really brings the track up to highlight status. The odd track out here is "Cosmic Indifference", which could've had some better improvement, but not much worth considering a standout.

"God Hunt" makes up for that with its massive riffing and Jason Evans' guest vocals right before the pulverizing breakdown. "Human Evisceration" was re-recorded from the Pereat Mundus EP. F***ing incredible strength and speed there. The "outro" "Monocerotis" ends with the last bit of brutal technicality, even hinting at the later blackened era.

Inferis can very well be the soundtrack for exploring the darkest depths of Hell. It's so stellar yet absolutely dark, continuing the atmospheric brutality of Purgatorium. Fans of Mental Cruelty and other deathcore bands (including the ones the guests are/were in) might enjoy this as much as their debut. The strength of the band keeps growing, and while they'll start taking on a more melodic epic direction in subsequent releases, the brutality is still around for heavier listeners to be pleased!

Favorites: "Planet of Misery", "Blood Altar", "Mundus Vult Decipi", "God Hunt", "Human Evisceration"

You don't often expect me, someone who often tries to avoid the gorier sh*t from death metal/core, to find an album like this perfect. But in my honest opinion, it is! As far as slam-deathcore goes, this is that style at its best. Part of the reason is how short it is compared to their later 10-track albums. In 32 minutes, you have 8 tracks, or 6 if the two-part suite isn't separated and one track didn't have its intro a separate track, all giving you extreme brutality in a moderate amount.

When an awesome deathcore album comes out in the beginning of the year, fans of the genre will surely be pleased for the rest of the year. That must be how epic cyber metal fans feel when a Mechina album comes out on New Year's Day. Anyway, expect a lot of breakdowns and blasts in Mental Cruelty's debut Purgatorium!

The title suite begins with the solid "Chapter 1: The Rotting World Above". An ambient intro fades into neoclassical shredding followed by fast heavy riffing. Nothing seems redundant at all. The other part "Chapter 2: Rise of the Antichrist" is one of the most technical tracks by the band. That relentless charger is like a more brutal Within the Ruins! "Vicarius Filii Dei" continues the heaviness with occasional pace changes.

Heading further into the deathcore side, "Father of Abomination" has more hardcore riffing and closes with a slamming breakdown. "Genesis (Lies From the Beginning)" is the interlude that might work a tad better when embedded to the next track. "The Venerable One" has more of the top-notch vocals and riffing.

Slows things down while staying heavy is "Immortalizing Purgatory". It's quite solid and interesting when it can naturally from slow to fast and maintain the relentless chaos. Finale "The Incantation of Human Annihilation" is filled with heavy riffing. This brutal standout is mostly instrumental, only having some vocals in the first half. Quite a heavy way out with all its might!

If there's anything that can be considered the epitome of slam-deathcore, Purgatorium is that. And this is before they added more variation in their later albums by adding in symphonic black metal elements. This solid masterpiece is for any and every deathcore fan!

Favorites: "Purgatorium" (both chapters), "Father of Abomination", "The Venerable One", "The Incantation of Human Annihilation"

In the late 2010s, A Wake in Providence released a couple amazing brutal deathcore albums, the first of which with the legendary Will Ramos of Lorna Shore. And a year before this review, 2024, the band released their new album I Write to You My Darling Decay, which I thought was a good symphonic blackened deathcore album though a bit too pompous. Their 3rd album Eternity is the perfect balance between those two sounds! And it came out a week after Lorna Shore's masterpiece Pain Remains.

This incredible release is A Wake in Providence's first one released via Unique Leader Records. It continues to impress me in the epic side of the deathcore realms which stands half a galaxy apart from the brutal side.

"An Odyssey Through the River (Overture)" continues the aspect of melodic intros, this time adding in clean singing by D'Andre Tyre, making this almost sound like later Katatonia. That is until the heavy instrumentation and growls smash through the second half mercilessly. "The Horror ov the Old Gods" doesn't light up one bit, maintaining furious drums and vocals with occasional sharp turns in tempo. "We Are Eternity" is filled with symphonic black metal-ish deathcore chaos. The riffing and breakdowns pound to the f***ing max. "Siamo Legati Dal Terrore" has more of that punishing speed in the blasts. The different vocal styles fit well for the rapid energy and occasional slower stomps. The structure is quite complex without going all-out progressive.

"The Hunt ov the Wraith (First Movement)" starts a trilogy of movements that I call the "Eternity Suite". The chorus is so powerful and melodic in all this dark drama, with searing guitar leads. Next up is "The Book ov the Eldritch (Second Movement)" in which ominous orchestrations lead into brutal destruction the blasts and growls. "The Court ov the Trinity (Final Movement)" very well summarizes this trilogy with lots of exciting moments. In all honesty, this trilogy really should be performed in a live setting in its entirety. No separating the tracks!

"Weep into the Abyss, for It Hears You Not..." is another interlude, this one allowing you to hear just small piano so calm before the final storm. "Vicious Attenuation" is for those who can be fully prepared for a 5-minute final ride with barely any stopping until the end. The technical instrumentation appearing front and center is something you can't ignore, and it's all worth ending this perfect offering.

A Wake in Providence has shown the world how much they stand out amongst the deathcore scene, with Eternity sealing that deal. The songs are nicely long and creative. Although Will Ramos is currently with Lorna Shore instead of this band, both bands have made a masterpiece that month, so everybody wins. A potential classic for eternity!

Favorites: "We Are Eternity", "Siamo Legati Dal Terrore", "The Hunt ov the Wraith (First Movement)", "The Court ov the Trinity (Final Movement)", "Vicious Attenuation"

Whenever you see the word "Blvck", spelled with a "v" instead of an "a", you know they're about to take a more blackened direction with their sound. Similarly to Mental Cruelty at that time, A Wake in Providence was still in their heavier, more brutal era, only this time, they're starting to hint at their later epic blackened deathcore style to come...

A Wake in Providence continue to rise in the American deathcore scene, and with this album The Blvck Sun || The Blood Moon, they're starting to make their move out of their earlier downtempo-ish deathcore sound for something a little different. The aggression has a subtle dash of symphonic black metal. While it's often considered their debut record, I believe that status should go over to Insidious Part II. Anyway, get ready for some slamming riff-fury and atmospheric anthems!

"I, Adversary" is another ominous instrumental intro. It starts soft and atmospheric then rises into deathcore heaviness with the first ever vocals from current member Adam Mercer. It segues to "Sworn Adherent" with more of the brutal percussion. "The Impure" continues the impure deathcore sound with some technicality from Pestilence.

"A Cataclysmic Eternal" levels up the metal intensity. "Oblivion" is a sludgy anthem that includes blazing drumming. What makes it more of a highlight is the occasional clean singing by guitarist D'Andre Tyre as well as guest vocals by Mark Poida (ex-Aversions Crown). More crushing breakdowns appear in the brutal "A Laube de L’enfer". And even more so in "The Blvck Sun". The drumming is simplistic while staying brutal. Mercer is a beyond talented vocalist, and his growls and screams are in great display there.

The band takes things to more ethereal tranquility in "The Finite Infinite" while balancing out with the album's usual brutality without sounding too forced. "Discipuli Autem Tenebris" has more of that balance, as the riffing from guitar duo Jordan Felion and D'Andre Tyre and the pummeling percussion of Anthony Dipietro make another strong standout. Guest appearing in "The Blood Moon" is CJ McMahon (ex-Thy Art is Murder). The 6-minute finale "Behold Thy King" perfectly channels their inner Tom Barber-era Lorna Shore, leading up to an eerie ending to this ultra-heavy experience.

Ok, the comparisons between this band and Lorna Shore have been done to death, but you can't deny the sound A Wake in Providence have in The Blvck Sun || The Blood Moon. There are some differences as much as there are similarities. The band has gotten a bit stronger and would reach their highest peak in Eternity. Still, this 2019 offering is another aggressive soundtrack to a journey through Hell, and it shall help deathcore shine brighter and darker than the Blvck Sun!

Favorites: "The Impure", "Oblivion", "The Blvck Sun", "The Finite Infinite", "Discipuli Autem Tenebris", "Behold Thy King"

It was a little tough deciding where to start my review journey through the rest of A Wake in Providence's material, but ultimately I decided to start with Insidious Phase II. It's a re-recording of their 2015 Insidious EP, extended to a full-ish album. And it has the one and only future Lorna Shore vocalist Will Ramos!

The lethal heaviness can crush your skull and ooze through your ears and brain. It expands the boundaries of this deathly genre that is deathcore. Complex and heavy as h*ll with all its punishing aggression. A Wake in Providence know how to go technical, brutal, and atmospheric all at once. This dark offering fits right in with its name, something as insidious and bleak as Death himself.

The atmospheric intro "Doom" begins it all on an eerie note that would have listeners on the edge of their seats. Then the straight searing "Seeker" kicks off with the vocal dynamics of Will Ramos, hopping through different vocal styles so seamlessly. "Black Mass" is a 6-minute epic with great drumming flow from Anthony Dipietro. I enjoy the alternation between Ramos' growls and the screams of Dickie Allen (Infant Annihilator, later Nekrogoblikon). Nothing ever sounds weak there! Ramos has that monstrous intensity that would continue to stun listeners 5 years later in his time with Lorna Shore. Absolutely insane!

"Euthanasia" has more of Dipietro's brutal drumming in synergy with guitar duo D'Andre Tyre and Jordan Felion to pulverize your head and the music oozes into your brain. The guitarwork really grinds up then slows down in an almost doomy pace (Doomcore?!). The instrumentalists all make a crushing invincible force, with their work striking like a spine-breaking jackhammer. The title track continues the speedy riffing in conjunction with brutal breakdowns to get listeners hooked, alongside the guest vocals by Bryan Long of Dealey Plaza. We have some more eeriness in "Bane", as the band strikes as another standout in the deathcore scene. They never have to go mainstream to sound so good. Wait, did Ramos just do a Knocked Loose-style "ARF ARF" towards the end?!? D*mn, he can do anything with his vocals!

Insidious Phase II includes two tracks that weren't in the original Insidious EP, starting with new song "Ov Hell" featuring Spite's Darius Tehrani. Not the best track, but it doesn't affect the album's rating. On the other hand, "Psycho", an earlier previously non-album single, stands out greatly with guest vocals by Shadow of Intent vocalist Ben Duerr, and that wouldn't be the only time he appeared in A Wake in Providence track.

There's no escape from the darkness and destruction of this offering within your brain. Insidious Phase II has some of the heaviest deathcore that doesn't cease until the end. And it's quite amazing hearing Will Ramos before Lorna Shore. The beast awakens!

Favorites: "Black Mass", "Euthanasia", "Bane", "Psycho"

Not as bad as reviews on other websites might suggest. Shrapnel are a U.K. thrash band who have decided to go more mainstream with their fourth studio album, In Gravity. For starters, this is a huge departure for the band since it contains next to nothing in true thrash texture. This is much closer to mid 200s metalcore/post-grunge than anything in the bands previous discography. As someone who was not aware of Shrapnel before In Gravity, this actually doesn't bother me since I can view this album from a neutral position. Perhaps the album gets a bad reputation by putting two of its slowest songs, "In Gravity" and "Amber Screams" right at the top. The record does include some faster grooves and has some pretty solid ones too, such as "Breaker" and "Follow The Cold", but those seem to be the outliers in an album that is much more subdued than previous efforts.  The vocals sounds like a cross between Alter Bridge's Myles Kennedy and Machine Head's Rob Flynn. And the instrumentals can be fun at times; as mentioned previously, some of the grooves are quite solid on the album, but they are at their best when they break away from the standard thrash or even nostalgic metalcore mold.

All that being said, this album fumbles the songwriting hard. As a former thrash band, I cannot say that I'm surprised. Some of the tracks on this record are painfully put together and have no real sense of direction. Even though I do like "Breaker", something about the final chorus feels off; almost like its missing a buildup to the chorus instead of just jumping right into it out of the bridge. Same can be said for "Guardian". "So Below" is arguably the worst culprit of disastrous songwriting, where the verse and chorus riffs do not coalesce together at all. They feel like two different songs that have been sheepishly thrown together in an attempt to save time, or to simply save the riffs from becoming forgotten B-sides. While I do appreciate the change in direction for Shrapnel on In Gravity, they lost their sense of identity, and showed the listener just how forgiving we (as listeners) are towards poor songwriting when the riffs are ferocious.

Best Songs: Breaker, Follow The Cold, Absolution

The first new release from Bleeding Through in almost a decade, and my first exposure to the band since 2006's The Truth is a fun romp of death tinged metalcore. Bleeding Through are comfortable doing what they do best and Nine is a very comfortable slab of unapologetic 2000s melodic metalcore. But the band is also not so focused on the past that they cannot see what is going on in the world of deathcore at the moment, so they go the extra mile and add some bombastic symphonic sections. Some of them sound really good, others not so much. Personally, I found the symphonic elements of Nine to distract and become less impactful as the album continued. 

Song wise, Nine has some decent choruses. Songs may be a little predictable, but at least Bleeding Through bother to add or subtract from the formula every once in a while to keep it fresh; whether that be adding a sung chorus, taking away a breakdown in favour of a more traditional bridge, or adding a guitar solo break. It keeps the album fresh, while also retaining the identity of the band in a way. I think that the band are stronger when playing more groove oriented tracks rather than the face melting thrashers, with "Path of Our Disease" standing out. The guest features are okay, with "War Time" sounding like a modern Shadows Fall song with I thought was pretty cool. Overall, the album is a little formulaic by Bleeding Through's standards, but they do enough to keep it engaging through a full listen. It has a couple standouts here and there, but the rest just sounds like modern metalcore slop to me.

Best Songs: Dead But So Alive, Path Of Our Disease, Emery

....Be honest with me here: does this review surprise you in the slightest?

Deathcore is such a tough genre to dissect since it borrows from two of the most frustrating genre's (death metal & metalcore) to create a new hodgepodge of sound. Some bands can do it well, while most others fail spectacularly. The main reason for these shortcomings come from a place of disregard for memorable songwriting in favour of sheer brutality. Like with Whitechapel last week, they were an act that could balance intensity with songwriting, but a long layover between releases means that someone has to come along and make quality deathcore.

Enter Shadow of Intent, a Connecticut based band that blended deathcore with both the melodic sounds of death metal from both Scandinavia and the United States, but also turned out to be incredibly influential in the rise of symphonic deathcore, anchored recently by Lorna Shore. While the bands first two albums are quite solid, there is a lingering feeling of timeliness to them; like if you don't play video games (Halo specifically), you will be left completely in the dark by both Primordial and Reclaimer. A band like Slugdge or Alestorm have become remarkably dull as they hold on to gimmicks far too long, but SoI (Shadow of Intent) dropped the theme from the previous releases and made something all their own with Melancholy.

You cannot really criticize SoI for leading the listener with false expectations on the opener "Melancholy". Everything you need from a symphonic deathcore band is here: string intros, palm muted guitar chugging, blast beats, varying levels of vocal range, and of course, breakdowns. But it also has a chorus, solo and the breakdowns stay in turn with the material that precedes it. It is nice to hear a breakdown for once that does not feel like it's disassociating from the rest of the tune. The clean singing during the chorus is a little offsetting; they remind me a lot of Cattle Decapitation's Travis Ryan and is the sort of nasal delivery that I will never understand its appeal.

"Oudenophobia" is the albums "ballad" so to speak. Not that such as thing can really exist on a death metal album, but the slower groove really stands out among the rest of the album. I found it to run a little stale as if it was an obligation rather than something put on the album with a lot of passion. The clean singing during the songs chorus does not sound quite as nasally as it has earlier on in the album. "Embracing Nocturnal Damnation" is a quick and brash change of pace as the main riff has tiny little influences to bands like Vektor and Revocation and embrace this bands technical side as well. I think having these songs back-to-back is a deliberate choice to put on explicit display the bands wide range of musicianship.

I would be remised if I didn't mention the ten-plus minute "The Dreaded Mystic Abyss"; my introduction to the band. As a progressive snob, as well as not a huge deathcore fan, this song surprised me in many ways. While I do think, after multiple listens, that "The Dreaded Mystic Abyss" is a little bit too overindulgent and does not stick the landing as originally thought, I still cannot deny the bands dedication to the idea. If there was ever a point on an album to be overindulgent, this would be the place to do it. After eight tracks of varying degrees of death metal, deathcore and symphonic metal, a ten minute guitar solo with style changes and two excellent grooves feels good. This is the kind of stuff that I meant when I reviewed Parasomnia so poorly last month. The ten minute, epic, progressive guitar solo becomes far more impactful when your band hasn't littered the entire album with it up to that point. If "The Shadow Man Incident" was an outlier, as "The Dreaded Mystic Abyss" is here, Parasomnia might have had a better fate. Instead, Dream Theater are dead, while SoI impress me with their vast array of sounds and styles. Unfortunately for the band, "The Dreaded Mystic Abyss" is not actually the albums last track, and returns to something more traditional with "Malediction" and really isn't that good to begin with, so it ends the album on a really weak note.

I think it was Daniel who pointed out in a Lorna Shore review a few years ago that the symphonic elements in deathcore sound remarkably cheesy, and at some points on Melancholy I can certainly hear that. I feel like the beauty in a record like Melancholy would be better presented through passages of silence, instead of littering every moment not filled with guitar, drums and voice with a string orchestra and choir. Some of them sound really good, and SoI sound even better when the symphonic elements are complimenting the death metal foundation. It does have its moments of being too much, but some of that can be mitigated by the more melodic death songwriting. This is a harrowing album that has many sparkling moments, but coalescing them into a whole can be tricky, especially when you consider the genres that are being merged here.

Best Songs: Gravesinger, Underneath a Sullen Moon, Dirge of the Void, The Dreaded Mystic Abyss

You always remember your first right?

My introduction to deathcore was This is Exile in 2008. Having not listened to anything heavier than Machine Head or Lamb of God at that time, I felt isolated by that album at first; even to this day, I'm still perplexed by it. Perhaps it was because of lowered expectations by the other similar bands from that time that This is Exile became my foundational deathcore album that I compare all others to.

In the years since, Whitechapel have gone on some wildly different directions. They created an alternative death metal album with The Valley and then doubled down and added progressive techniques with 2021's Kin. But in 2025, I could tell that something was up. For starters, Whitechapel have changed their nameplate back to the original, a moves that typically marks a rougher shift in tonality. "A Visceral Retch" was promoted in preparation for the new album and my hardcore friends lost their minds. And then those same friends bombard me while I'm on vacation telling me "IT'S THE ALBUM OF THE YEAR!" so I guess I'm caving. What do I think of Hymns in Dissonance?

"Prisoner 666" begins very ominously, before an explosion of sound hits your ears with a riff that is all too reminiscent of "The Saw is the Law". As the album carries on, it becomes apparent that Hymns in Dissonance is not trying to be Whitechapel status quo. While this album might be listed exclusively as "Deathcore" on RateYourMusic, that is not to say that the progressive metal from the last two albums is not present here. Listen to those choruses on "Prisoner 666" and "Hymns in Dissonance" and tell me that power chord accompaniment isn't inspired by Ne Obliviscaris or the recent Job for a Cowboy record Moon Healer.

It's apparent within the first two tracks with extended runtimes as well. A shade over five minutes might not seem like much to the progressive metal snob, but to a hardcore fan, this is heaven. And it is of course a very good thing too when the songs are well composed also. I enjoyed how the "breakdowns" on songs like "Diabolic Slumber" are presented and executed; like with Spiritbox just last week, breakdowns are connected to the material preceding it and makes these songs feel complete. Whereas songs like "Hymns in Dissonance" leave a lot to be desired with their outros. The back half of the album is far less progressive following the "Ex Infernis" interlude and, while a fun listen, leaves me with little to talk about. Very heavy deathcore feel, but brought into the modern era.

The album closer "Nothing Is Coming for Any of Us" confirms what I already suggested earlier in this review. Hymns in Dissonance is not Whitechapel remaking This is Exile in 2025. This is an album that has taken the lessons of those progressive albums like The Valley and Kin as well as the state of deathcore in the current day, while also adding some of the classic Whitechapel sound that made them such a household name in the scene nearly twenty years ago. The first half of the song uses the "breakdowns but slower" technique, while the second half turns into a instrumental feature. I'm not a fan of either of these two parts to be honest, but it is quite the change of pace from the run of songs that led up to this moment, and I appreciate the ambition.

Perhaps the record would be better with a cleaner production. Now, I should expect less given this is a Metal Blade production, but even the earlier Whitechapel records produced through this label didn't sound as overblown as this. Part of that likely comes from the instrumentation, which contains three separate guitar players. The reasoning has always been so that Whitechapel can play these songs without compromising during live sets, which is fine. But whenever the band has one of those patented vocal breaks, every single time the instruments return the mix warbles from the intensity and volume. It does get slightly better during the back half of the record, but it still creeps its head during every breakdown.

That mixing is what's gonna hold this back for myself and likely many others. Because on songwriting alone, Hymns in Dissonance is quite good. Whitechapel haven't sounded this angry since the self titled album and they've managed to merge it with their more progressive songwriting of the 2020s. Phil Bozeman has one of deathcore cleanest vocal deliveries, but even I had a harder time than usual trying to hear the words that were being said. If you want a real hardcore thrasher, I can see why you might consider this as your album of the year; this is very much the opposite to Lorna Shore's Pain Remains.

As for me, I can't hate this, but I don't love it. Hymns in Dissonance is the kind of record I hoped Moon Healer might be with its aggression. There are flashes of excellence here, but they are harder to see through the dark clouds.

Best Songs: Prisoner 666, Diabolic Slumber, Hate Cult Ritual, Mammoth God

BREAKING NEWS: Architects are heavy again.

This really shouldn't be news to anyone considering how poor Classic Symptoms of a Broken Spirit was. I had low expectations for an Architects album already and then Sam Carter and company dropped the biggest non-effort I've heard this side of the 2020s. It was right up there with Bastille as my worst albums of 2022 and for good damn reason. It was a record that promised accessibility, but butchered whatever character Architects may have had. Classic Symptoms of a Broken Spirit did not sound like an Architects album, but rather a procedurally generated alternative metalcore album that could be replicated by anyone.

The issue is not that Architects are going back to a heavier sound. What matters is will Architects actually sound like Architects? And so, The Sky, the Earth & All Between does show signs of improvement. Segments of "Elegy" and "Brain Dead" show the band embracing more of a hardcore sound. "Whiplash" and "Everything Ends" are closer to the mainstream accessible sound the band has been playing with for the last couple albums, while "Evil Eyes" has some decent hybrid action going on. The biggest issue with this album is that it lacks consistency; I like "Evil Eyes" and the opener "Elegy", but then the album hits you with "Broken Mirror", which I swear just sounds like a rejected Bring Me the Horizon song. 

The back half of The Sky, the Earth & All Between is so safe that I don't really have anything to say about it. The Amira Elfeky feature on "Judgement Day" could have been a bright spot for this record, until the main riff enters and it reminds me of AI generated metalcore again. The worst part about it is that none of these songs have anything ear catching; whether that be a catchy chorus, guitar solo, or compositional change of pace. They all do the same thing and a record that started off with potential gradually loses that momentum in quick fashion.

Now, I understand that it is unfair to criticize The Sky, the Earth & All Between by comparing it to Holy Hell, the band's 2018 record that served as a farewell/lament to their bandmate, Tom Searle. I really question just how much weight that must have carried because while this album does certainly sound like Architects, it also does not contain the same passion. And even then, this album is showing signs of a group desperate to stay relevant, and will incorporate as many modern trends into their music to do so. Some of them work, while others just...don't. Perhaps it is poorly outlined expectations by people like myself that an artist does not need to completely revamp their sound every album. Sleep Token are Sleep Token, and they do not need every 2010s metalcore group mimicking their style to maintain relevancy. Instead of being good at just one thing, Architects' The Sky, the Earth & All Between includes The Sky, the Earth & All Between, and isn't really good at any of it.

Best Songs: Elegy, Brain Dead, Evil Eyes

The Valley and Kin were a different stylistic affair from the deathcore sound Whitechapel is known for. That's actually what I like about some deathcore bands, when they make their sound more than just that genre. Of course, I also enjoy their more brutal earlier albums that I wouldn't have the leeway to listen to like 10 years ago. The quality for that sound ended up dropping in the mid-2010s. But now they're back in their earlier form, cranking up their speed and heaviness in new album Hymns in Dissonance.

There's nothing but ferocious brutality and the occasional thrashy chaos and groove breakdowns, and maybe a few cooldowns. It even sounds massive with the guitar trio performing in superb synergy. Get ready for a pulverizing experience like no other!

Ominous melody starts "Prisoner 666" before firing up in reckless chaos. But it's the title track that really stands out amongst the rest. The chorus name-drops several of their earlier songs, and the breakdowns sound almost as djenty as Meshuggah while staying brutal. Their roots really are back! After "Diabolical Slumber" begins soft and eerie, it straight away blasts through as usual. Another brutal yet memorable is the crushing "A Visceral Retch".

"Ex Inferis" is an unnecessary interlude, but not too bothersome. "Hate Cult Ritual" is another memorable track to get the crowd moshing. "The Abysmal Gospel" is much more intense. Anyone complaining about modern deathcore not having the right kind of brutality, wake up and hear that "gospel"!

"Bedlam" is another heavy Meshuggah-ish track in the riffing. Then we get to the epic climax of the album, beginning with "Mammoth God" which has cleaner melody while staying ultra-heavy. "Nothing is Coming for Any of Us" has strong atmosphere to go with the brutality. The mixing rules as the drums, bass, and guitars drop down like falling bricks, allowing you to hear the riff-wrath deathcore fans really want.

Hymns in Dissonance isn't entirely perfect due to that odd interlude, but the album has potential to be a deathcore classic for generations to come. It just might make my top 10 albums of 2025 so far. Whitechapel are back to their old savage ways!

Favorites: "Hymns in Dissonance", "A Visceral Retch", "Hate Cult Ritual", "The Abysmal Gospel", "Nothing is Coming for Any of Us"

Spiritbox have returned with their second full length album following The Fear of Fear EP from 2023. The first thing that strikes me on the new record is how much heavier this is than Eternal Blue. The promotional singles for this record did not leave me with much hope. The promotion for Tsunami Sea was showing signs of this band continuing down the more accessible path with "Perfect Soul" being thee prime example. While not a bad song, it does sound eerily similar to some of Eternal Blue's weakest songs. 

So having been on vacation for the last week, I've had the chance to listen to this record freely for longer than most, and I was quite impressed with the result. This is by far the best project that Spiritbox have released since the 2017 EP. Even though the record does still implement many of the talking points that I've previously mentioned (most notably the "musical grab bag"), Spiritbox have claimed an identity and they are sticking to it throughout the entire album. The bands hybrid personality has become apart of their unique sound and that carries into the songwriting itself. This album has such a eclectic palette of song styles, song compositions and directions. And while some of them don't work (i.e. "Crystal Rose"), other songs like "Keep Sweet" and "A Haven With Two Faces" are very good.

Tsunami Sea is adding a few more electronic and industrial elements, which is new for the band and plays into that "grab bag" personality the band is presenting for themselves. In a way, this album can be seen as some kind of culmination of taking Iwrestleabearonce and making it accessible. On their own, none of these songs scream progressive or event avant-garde, but as a whole, Tsunami Sea does so much to change up from track-to-track that it gives off the passing impression of a progressive metal epic.

"But Saxy" I hear you moan, "what about the breakdowns? This is metalcore after all and you are a notorious hater of breakdowns." And while that may be true, it is only because modern metalcore bands do not know how to include breakdowns into a tune; insert a percussion buildup, a vocal break where the title of the song is shouted, band returns with a breakdown groove that is not connected to the chorus. And while Spiritbox do employ this mechanic here, it is breakdowns like on "A Haven With Two Faces" that make me think this band really are metalcore geniuses. The pure bliss that was felt as Courtney LaPlante sings "I watch as it floats backwards to me" and the seamless recurrence of the main band is the highlight of the album for me. 

Like I said off earlier, I think Tsunami Sea is the best Spiritbox record since the debut EP. The songwriting has improved tremendously, the album has a great variety of song styles, both in their aural presentation as well as the physical compositions. LaPlante's vocals are tremendous their range and delivery, and while the compression of the mix is a questionable choice, I feel like it adds to the groups dynamics during the records softer moments, as the heavier moments can sound tremendous at times. Like with all metalcore, the best waves are the ones that make you savor them.

Best Songs: Fata Morgana, Keep Sweet, A Haven With Two Faces, No Loss, No Love, Deep End

Killswitch Engage are one of those rare old breed of bands that understand the importance of delayed gratification. They have never been a band that have forced an unnecessary number of albums out the door in order to maintain relevancy in the ever changing metalcore world. And as a result, whenever Killswitch Engage release a new album, it's always welcome with praise and admiration, even if it is just the band on autopilot.

This time around, the album This Consequence has a five year window since Atonement, which I reviewed back in the day. When I reviewed it, I thought it was okay, but far too predictable. Howard Jones making guest appearances was memorable, but couldn't hold the album back from mediocrity. This Consequence meanwhile has some modulation from the typical KSE (Killswitch Engage) formula. The songs "Aftermath" and "Forever Ahead" nicely compliment each other in the track order with warmer textures and more melodic singing. While "Collusion" and "The Fall of Us" coalesce into heavy overload; with "The Fall of Us" in particular beginning with a black metal adjacent riff, before returning to some stronger death metal riffs during the verses. 

It isn't all sunshine for KSE. I for one was very disappointed by the overall sound of this record. The compositions are good, but the engineering just holds back on so many fronts. The first, and most obvious one, is the underdeveloped the low end of the mix. "The Fall of Us" is a perfect example of a song that desperate needs that strong foundation, when the lead guitar is tremolo picking. While the rest of the mix is slightly better, its only because the rhythm guitar remains present during the choruses of "I Believe" and "Broken Glass". KSE really needs to bring back that booming foundation that was so present on The End of Heartache or As Daylight Dies.

All of this said, I do believe that This Consequence is the best KSE since the return of Jesse Leach. It sounds like KSE, but it also sounds developed and the progression of Killswitch Engage as being more than just THE melodic metalcore band. They have the potential to add more influence into their music and have it sound pretty good as well. If they could do that with better mixing, This Consequence would be fantastic. But it is still quite the solid piece of melodic metalcore in the 2020s.

Best Songs: Aftermath, Forever Ahead, Collusion, Broken Glass

As far as the 21st century metalcore scene goes, Killswitch Engage is one of a few bands to stand out big and bring the scene to light. It's this blend of heaviness and melody that makes it so appealing to open-minded listeners such as myself. They started off massively strong in their first couple albums then just kinda dipped a bit in the era of Howard Jones. Not saying he's a bad vocalist at all, just that the albums he was in ended up being part of the lower half of ranking list. Then when Jesse Leach returned, the band's earlier power made its comeback too, reaching its greatest height in years in Atonement. And now comes their highly anticipated new album This Consequence!

The greatness of their music continues to stay strong here. This Consequence shows the band diving further into their earlier ruthless roots while staying catchy. And with its short total length of 35 minutes (almost reaching the 2000 debut's total length), it's clear they're thinking "F*** quantity, it's all about quality." The album contains their most brutal songs yet while not losing too much melody. The vocals are filled with majestic emotion that make great contrast with the extreme side.

"Abandon Us" straight-up attacks with heavy twisted riffing without ever needing an intro. After Leach bellows out the verses, he sings the choruses in melody and drama. A mighty flawless start! "Discordant Nation" gets you hooked with thrashy speed. "Aftermath" has deathly rage while balancing it out with mainstream melody.

With "Forever Aligned", Jesse Leach still has his vocal strength just like in those kick-A first two albums. The music is amazing including the harsh vocal verses. This catchy banger shall age well. I also hear a bit of a modern Soilwork vibe. I enjoy the chorus despite a slight issue with Adam D.'s cleans, probably would've been better with Howard Jones there instead of Adam. The outro is so beautiful too! "I Believe" has more upbeat accessibility. "Where It Dies" has the earlier midtempo heaviness. Then "Collusion" battles against worldwide corruption with f***ing heavy riffing from Adam D. who even performs p*ssed-off growls alongside Jesse in the bridge. So brutally awesome!

"The Fall of Us" fires away with blazing blasts and guttural vocals to blast you into the wall behind you. "Broken Glass" might as well as appear in the Atonement II EP because of the unusual sludgy pace and occasional blasts. "Requiem" closes the album with another highlight to remember. Summarizing all the band has to offer in their new album, this shall please the crowd for many generations.

In an age where bands don't sound as triumphant as they did in their prime of, say, 20 years ago, Killswitch Engage continues to rule. This Consequence has helped paved their endless road of success and victory!

Favorites: "Abandon Us", "Forever Aligned", "Collusion", "The Fall of Us", "Requiem"

It's not often a live album gets a perfect score, at least one from me. But the two-CD offering is so awesome, I don't need to get the Blu-ray version. It's basically two of the best Killswitch Engage albums and an encore in a high-quality livestream concert. I might just be up to also checking out (Set This) World Ablaze if not just a DVD release!

The technical production here impresses me more than most other live albums. Apparently, there's something going on in the intermission, but I won't spoil the fun of just the CD edition by checking it out. Just listening to the songs make this a pure live experience in the comfort of my own home. With this awesome two-album setlist, it might just blow away their weakest but still amazing releases like The End of Heartache and KSE V.

The first track and single of Atonement, "Unleashed" already has what's to come in this offering. Then "The Signal Fire" lights up the heavy fire, and Howard makes a small but amazing comeback in the second verse with his massive screams. The drums and guitars are so fast and furious with intense variation. Next song "Us Against the World" can provide motivation and strength for you to fight against different challenges. In the majestic highlight "The Crownless King", Killswitch Engage continue bringing back some of the earlier heaviness. Chuck Billy of Testament has brought forward enough fury for this song to have potential in the DOOM soundtrack.

"I Am Broken Too" still shows the band intensifying their sound while mostly having melodic emotion. "As Sure as the Sun Will Rise" follows that motive with more brutality in the verses. We also have the catchy "Know Your Enemy" with more hardcore yells. The mid-tempo "Take Control" shows the band having the pleasure of reinventing the wheel without breaking the original wheel.

"Ravenous" doesn't lose any melody yet they still have their metal heaviness. "I Can’t Be the Only One" has the power to inspire you to be brave enough to battle against your personal issues. "Bite the Hand That Feeds" is a killer way out of this album.

To start their 2000 debut part of the setlist, everything everywhere all at once kicks through in "Temple from the Within". Without an intro, the instrumentation hits you non-stop. A great mid-paced start to this perfect experience! A good thrashy track, "Vide Infra" has more spoken/shouted cleans to fit with the screams. The brutal blasts of "Irreversal" level up the intensity, defining the sound to expect in the album.

"Rusted Embrace" has some awesome vocals here. "Prelude" is quite g****mn good for an instrumental. It's too bad not a lot of the more serious metalheads give the earlier material like that track more appreciation. It segues to "Soilborn" which is really solid.

Next track "Numb Sickened Eyes" is a killer track worth listening to. However, its ending a bit annoying and I feel the need to skip it. Still it doesn't affect the album's perfect score that's still staying steady. "In the Unblind" has more effective mixing. The powerful screaming, guitar soloing, and drumming is a great reminder of the album's strength. The outro track "One Last Sunset" is replaced by "Just Barely Breathing", in which the slow acoustic outro is a bit out of line, but the rest of the song is still crushing.

All in all, an awesome top-notch show for those wanting a couple incredible albums by this band in its best live quality. It once again proves that while Howard Jones is still one of the greatest vocalists around, Jesse Leach has the throne with his name engraved in stone!

Favorites: "The Signal Fire", "The Crownless King", "As Sure as the Sun Will Rise", "Take Control", "I Can’t Be the Only One", "Temple from the Within", "Irreversal", "Rusted Embrace", "In the Unblind", "Just Barely Breathing"

As with many other metalcore/melodic metalcore bands having been active in the past 25 years, Bleeding Through continues to stay true to their sound. They expand their horizons on the fast brutal side to make a heavy offering out of their aptly titled 9th album Nine!

It seems like they haven't lost much of their steam after really slowing their pace between albums. Nine is their first album in 7 years, a slightly longer gap than between The Great Fire and Love Will Kill All. They were still active before Nine though, releasing an EP titled Rage in 2022. And they have more of that rage in their ninth album, one of their most furious releases to date. Even that meme-worthy (two paths) cover art is filled with darkness and fire.

"Gallows" starts with a sample of Saruman (Christopher Lee) from Lord of the Rings saying "We have only to remove those who oppose us" then blasts off with the unique drumming fire and screaming fury that's what make this band so unique. "Our Brand is Chaos" has their usual chaotic brand of metalcore that made it big in This is Love, This is Murderous, throwing in their earlier blackened aspects and visceral lyrics. "Dead but So Alive" erupts into thrashy chaos, evolving into blazing soloing and the vocals of Brandan Schieppati and keyboardist Marta Demmel together in the chorus that makes an epic standout imprinted in your mind.

Next song "Hail Destruction" rips through face-tearing destruction until the 3-minute mark when everything halts then slowly makes its way back up for the searing soloing of guitar duo John Arnold and Brandon Richter. With all that, it almost comes close as the ultimate highlight for me. "Lost in Isolation" has more harmonic soloing crashing in, here courtesy of Doc Coyle from God Forbid and Bad Wolves. Other things to note are the ravaging drums and riffing, along more of the chorus dueling between Brandan and Marta. All of that surpass the previous track as the ultimate highlight of melody and intensity! The album has an intermission, with the slow piano/soprano vocal interlude "Last Breath". Then "Path of Our Disease" might just be the most "blackened Hatebreed" song I've heard since Underoath's first two albums.

"I Am Resistance" continues that speedy fury alongside the raging vocals of Comeback Kid vocalist Andrew Neufeld. Another special standout! Then "Emery" has more emotion while staying intense. The chorus throws back to their only full-on ballad "Line in the Sand" (The Truth). "War Time" is a violent banger with background vocals by Brian Fair (Shadows Fall), and the lyrics fire away as well. "Unholy Armada" has the last of the violent storm then ends with harmonic soloing as darkness gives way to light.

In a time when bands get more melodic for the sake of commercial success, Bleeding Through fight back against the trend by keeping their raw and vicious sound intact. Let's hope the band can continue making one album per year or two just like in their earlier days. We need more of the raging darkness!

Favorites: "Dead but So Alive", "Hail Destruction", "Lost in Isolation", "I Am Resistance", "War Time"

2023 was quite a year for the return of early underground melodic metalcore/deathcore bands. Prayer for Cleansing and Undying reformed a couple shows (no word on if any new albums are on the horizon), and Dawn of Orion (raise your glass!) and Plague Thy Child (lower your glass...) have each re-released pretty much all their earlier material in one album. Dawn of Orion's album A Celestial Ballad contains all 3 of their releases plus a few unreleased tracks.

Now I'd like to talk about the demos for a brief moment. 1997's Twilight Eternal is more death metal-oriented, and it might remind some more of Deicide than Morning Again. Sweet roughness! 1998's On Broken Wings blends those two bands' sounds for something nice, but its more polished production falls flat. So it's not that great...

Anyone who has read my review For the Lust of Prophecies Undone already knows what I think of its songs, but I'll say them again here; "As the Bloodred Moon Rises" greatly exemplifies that riffing, filled with true early melodic deathcore. This is the kind of darkness not even In Flames and Soilwork have dived into, having starting to go their own mainstream route in the early 2000s. "A Widow's Covenant" has a bit of technicality added to their riffing, hinting at what The Faceless and Betraying the Martyrs would have a decade later. "Creation's End" sounds like what may be the creation of the deathcore we know from bands like Carnifex and Whitechapel, and the melodeath of Disarmonia Mundi. "The Passing of Idols" starts off with a bit of thrash/groove before having more of the deathly sound.

The instrumental "To Hunt the Ethereal Sun" is the song vocalist Myke C-Town uses in his YouTube video outros, specifically that ethereal acoustic intro. The blend of acoustic/electric guitar reminds me a bit of Kalmah, though all that's missing is the symphonic keys and neoclassical shredding. The release ends with two re-recorded songs from their Twilight Eternal demo, which we will talk about once we get there, starting with "Thy Divine". The other one, "The Ancient Promise" can certainly start a moshpit at the beginning with its hardcore riffing and breakdown.

The 3 unreleased tracks must've been from an unknown unreleased demo or the recording sessions of their debut, starting with a different edition of the title track of the demo "Twilight Eternal" which hints at the melodeath sound later found in Insomnium. "The Liar's Broken Rhyme" has the best of the early metalcore of Morning Again and the melodic metalcore of Atreyu, Killswitch Engage, and Trivium in the vein of those bands' early material. "For Every Crack, a Hollow Smile" is a bit hollow, but it's still good.

Now we come to the On Broken Wings EP, and "Sown Into Flames" exemplifies the early metalcore of Converge blended with melodeath that would take true from in Neaera. You want heaviness in the title track? The midway breakdown has it all. "For Dying Eyes" continues the mix of melodeath/deathcore before As Blood Runs Black made it cool.

I mentioned how rough yet killer the Twilight Eternal demo is, but now it's become a battle of which track is better, with the title track starting with an unneeded audio sample from the horror film The Prophecy. Now "Thy Divine" I like better than in the debut album, with the thrashy intro riffing sounding nice and raw. "The Ancient Promise" is slightly less that its debut album counterpart but I still like it. Then "Gates of Emptiness" ends it all with the best metalcore riffing and growls of the entire compilation.

So of all of these tracks in A Celestial Ballad, most of the songs from sections 1, 2, and 4 are pretty great. Most of section 3 (On Broken Wings) are decent but could've been better in the production. If anyone wants early metalcore and death metal fused together in a way that really hits the spot, there you go....

Favorites: "As the Bloodred Moon Rises", "Creation's End", "To Hunt the Ethereal Sun", "The Ancient Promise" (1999), "Twilight Eternal" (previously unreleased), "The Liar's Broken Rhyme", "Sown Into Flames", "Thy Divine" (1997), "Gates of Emptiness"

Of course the moment Undying reach the highest peak in their sound ends up being their swansong release. I'm not too worried since they've reformed two decades after this album At History's End. Plus there are other metalcore bands that I enjoy, so you won't see my interest in the genre fading out anytime soon.

Metalcore bands like Undying have really touched the hearts of people who were around my age (mid-20s) or younger back then. As always, Undying provide their melodic metalcore sound that was only in the early stages of popularity. There are some things different in At History's End compared to the previous album. More direct melodies, more hardcore riffs, and more poetic lyrics, the latter recited by female vocalist Logan White, replacing Timothy Roy. It's the best you're gonna get from this band!

"Reckoning" has the best of many bands past and future, including late 90s Cave In, The Ghost Inside, Killswitch Engage, and Omnium Gatherum. A brilliant start to this offering! Taking their anger out on the perils of humanity is "Lament". Then "Teratisms" starts slow before having a more thrashy sound to remind me of Sylosis' demo EPs.

"By Turns" sounds like it could've given 36 Crazyfists the idea to go metal/hardcore next year. Logan White's views against a society of injustice to women covers "As Above". You gotta admire her lyrical spirit!

There is one interlude in this album, "Arrangement for Invisible Voices", filled with nothing but piano and strings, which made me a little bored just like the interludes in the previous album. Without it, At History's End would've been perfect. "For the Dying" once again sounds like the spawning point for later bands from the hardcore of Architects and The Ghost Inside to the melodeath of As Blood Runs Black and Sylosis. Final highlight "The Age of Grace" pumps you up with the intensity of Morning Again.

At History's End really should've had as much love and recognition as the more mainstream bands out there. Still it's fine staying underground. Now that the band has reformed recently, they now have time to create a new part of their melodic metalcore evolution and maybe hit that perfect 5-star mark. Their history shall be ongoing!

Favorites: "Reckoning", "As Above", "For the Dying", "The Age of Grace"

One year after the original demo release of Undying's EP This Day All Gods Die came their debut full-length The Whispered Lies of Angels. Again I hadn't gotten around to listening to this band the first time I've heard of them. Not enough hooks? Maybe... But now I hear that it's great enough to get me hooked! For the most part, anyway.

It's interesting how some of the most influential bands besides the popular ones are the bands that split up after less than 10 years, and it took the talk of the early melodic metalcore town to get this band recognized. Similar to other bands like Darkest Hour, Undying take the road of adding At the Gates-ish riffing. However, more often than not, things slow down close to the doomy melancholy of My Dying Bride. With all that said, they still have the hardcore rage, with more melodic leads and breakdowns than solos.

A much better opening song than in the EP, "Echoes" has the guitar, vocals, and drums roll through in melodic passion. Fantastic start! However, "Tears Seven Times Salt" is an odd unnecessary interlude. Fortunately, "The Company of Storms" brushes that aside with some deathly melodic metalcore not too far off from Upon a Burning Body's demo years. Things get a little underwhelming in "Fallen Grace" in which, despite its short 3-minute length, the melodic near-end bridge of the track goes on for a little too long. The rest of the song before then is still good though.

"The Coming Dark Age" is OK, but here they just rely a little too much on melody, jostling its balance with the heavy side a bit. "Born Again" has more of the hardcore sound later mastered by early Architects and the melody later mastered by Black Veil Brides. Same with "A Desert in the Heart" having a bit of the ambience of Silent Planet.

"Formal Absences of Precious Things" is another useless flow-killing interlude. "Of Masks and Martyrs" is one more original song, have some of the melody later that Betraying the Martyrs would later have, while not going the epic deathcore route of course. The beautiful hidden cover of "The Cry of Mankind" by My Dying Bride is a solid ending to this offering. This is as close to doom metalcore as we're ever going to get, and I didn't even have to increase the playback speed to 2x!

The Whispered Lies of Angels came from an era when melodic metalcore was not yet the norm. I can hear how much it affected the scene greatly. Not much wrong except for a couple odd interludes and a little too much melody in a couple songs. At least that will be fixed one album later....

Favorites: "Echoes", "The Company of Storms", "Born Again", "Of Masks and Martyrs", "The Cry of Mankind"

Undying is a band that I've come across a few times in the past several years yet hadn't gotten around in actually checking them out. Why? I have no idea. Let's fix that... Melodic metalcore had its start in the late 90s when bands in the American hardcore listened to Gothenburg melodeath and decided to add elements of that to their sound. Darkest Hour may have their reign, but Undying is a more underrated example, and their D-flat tuned heavy and melodic sound would carry over to Prayer for Cleansing, a band that includes former members Tommy Rogers and Paul Waggoner who would go on to form the more popular and progressive Between the Buried and Me.

Their first release, the EP This Day All Gods Die was recorded in 1998 and released as a demo, though it would get an official CD release in 2001. The idea of blending hardcore with melodeath was new and unheard of when the EP first came out in the underground. Gothenburg fans would certainly be pleased about their favorite metal style spreading into America. The hardcore side gives it that grit you don't often hear in In Flames. Strong rage and sweet melody are just what the doctor ordered.

The chilling synth "Intro" is almost like a continuation of the hidden outro in Children of Bodom's Something Wild, almost as if this is an alternate timeline where that band continued that album's D-flat tuned blackened melodeath sound and mixed it with metalcore. The title track seals that deal, but it doesn't impress me that much. There's not much variation in the drumming compared to the other songs. "Lay This Life Down" is filled with melodic darkness while battling it out with the hardcore rage. That's the kind of rage the more popular melodeath bands wish they had!

"Fire of Life" digs deeper into adding variety. The blend of slow and fast sections scream Prayer for Cleansing, while the former has the same slow dread as My Dying Bride, whom the band would cover one of their songs in their next release. More of those melodies and tremolo are in "When the Heavens Shed Tears". Finally, "For Liberation" is a mighty battle between the 90s metal/hardcore of Vision of Disorder and Burst and the European melodeath that would later reach bands like Neaera and Omnium Gatherum.

This Day All Gods Die is not the best start for Undying, but still good. Their later releases would have a more complex melodic turn that would pave the way for the more popular American melodic metalcore bands. Heavy darkness has been given more melodic light....

Favorites: "Lay This Life Down", "Fire of Life", "For Liberation"

Another early deathcore album... And wow, what a boost in quality compared to that Plague Thy Child EP! Just like that band, Dawn of Orion was a practically unknown band from around 25 years ago that had no chance in making it big. At least one of the members ended up being more well-known, vocalist Myke 'C-Town' Jamison, having started his own YouTube channel and even used one of Dawn of Orion's songs as the outro for his videos. I'll tell you what song that is when we get there...

Dawn of Orion was an early deathcore/metalcore band, the way Plague Thy Child had done it two years later, but Dawn of Orion is the real deal here. There's a lot of deathly riffing blending heaviness and melody, inspired by At the Gates, and this was years before the rise of melodic metalcore.

First song "As the Bloodred Moon Rises" greatly exemplifies that riffing, filled with true early melodic deathcore. This is the kind of darkness not even In Flames and Soilwork have dived into, having starting to go their own mainstream route in the early 2000s. "A Widow's Covenant" has a bit of technicality added to their riffing, hinting at what The Faceless and Betraying the Martyrs would have a decade later. "Creation's End" sounds like what may be the creation of the deathcore we know from bands like Carnifex and Whitechapel, and the melodeath of Disarmonia Mundi. "The Passing of Idols" starts off with a bit of thrash/groove before having more of the deathly sound.

The instrumental "To Hunt the Ethereal Sun" is the song Myke C-Town uses in his video outros, specifically that ethereal acoustic intro. The blend of acoustic/electric guitar reminds me a bit of Kalmah, though all that's missing is the symphonic keys and neoclassical shredding. The release ends with two re-recorded songs from their Twilight Eternal demo, starting with "Thy Divine". The other one, "The Ancient Promise" can certainly start a moshpit at the beginning with its hardcore riffing and breakdown.

I wouldn't say For the Lust of Prophecies Undone is the best melodic deathcore album I've heard, but it's a solid offering of face-tearing aggression. It's lightyears better than that Plague Thy Child EP, and a great way to begin this dark deathly side of the metalcore scene. This band shall be commended for this fascinating discovery....

Favorites: "As the Bloodred Moon Rises", "Creation's End", "To Hunt the Ethereal Sun", "The Ancient Promise"

Today I decided to explore another very example of deathcore. Plague Thy Child was a short-lived band whose only well-known release was a split album with metalcore band The Common Man. Plague Thy Child's 2001 EP has been given a 2023 official re-release that includes a 2000 demo.

The sound is basically early deathcore/metalcore, with deathly riffing, blackened screams, and hardcore breakdowns, almost like what Embodyment would've had if they didn't abandon their deathcore sound at the time. In theory, that all sounds cool, but sadly it's f***ed up by the demo production that makes most of it a mess. Despite that, "Autumn" combines that brutal sound with dark melodies, sounding quite beautiful. Everything else though is too bland or unclear. An actual re-recording of this sh*t is in order....

Favorites (only one I like): "Autumn"

Knocked Loose need to calm the fuck down and learn how to write some actual songs. That was my gut reaction to the first full play through of You Won’t Go Before You’re Supposed To. Despite having the track Don’t Reach for Me already on my workout playlist, the full album did not possess the same level of immediacy for me. After multiple listens, I have tempered my initial reaction somewhat. Whilst I cannot pretend to be overly enamoured with the record, I can acknowledge that there is more here than just the furious ranting I heard upon my first listen.

As bizarre as it sounds, the album needs to be listened to fully understand it. Being fooled by the spurious nature of the tracks into thinking that this is just music to batter your head into with little need for focus or attention was a mistake for me. The sub-genre tag that Saxy mentioned of “beatdown metalcore” certainly fits the billing mind. There is little covert activity over these ten songs and the delivery is as rampant as the sub-genre billing suggests. For me at least, that level of consistency needs to be recognised. Picking up such a level of intensity and rarely letting it falter makes for a challenging listen, but it also shows a lot of heart. Listen enough times and you will hear the variety in the tracks though and be able to see beyond the slamming fury of the band overall. They are brief, but there are lulls in the chaos (actual pacing in fact) that somehow do not detract from the primitive intensity of the record.

This is not to say that YWGBYST is not without its flaws. I cannot cope with more than thirty minutes of those vocals, no matter which day of the week it is. They are without doubt the most one-dimensional aspect of Knocked Loose and soon get into “grating” status as they dominate the record far too much. This is a shame, as Knocked loose have much better qualities in the instrumentation itself. But the solid percussion and jarring riffs just get trodden on all too easily by those vocals which are too memorable for all the wrong reasons.

I guess there’s no real surprise to any of the Metal Academy regulars that I am not in love with Knocked Loose. If they genuinely could write more material like the closing track on the record, then we would probably get along better at least. Oh, and change vocalist of course.

Is time travel real? While it isn't in the era we are in, Cypecore knows how to create that illusion with their "2123 Tour". Honestly, one of the reasons I don't go to live shows is the fear of experiencing a future that seems so real yet coming home embarrassed that it isn't. And this is a band that have started nearly two decades ago...

Cypecore have released 5 albums that follow a futuristic sci-fi conceptual saga, a similar aspect to Mechina. A year before their new fifth album Make Me Real, the band hinted at their new direction with this EP, Version 4.5: The Dark Chapter. The "4.5" part is quite clever, since the band wanted to give their fans something new after a 5-year gap that may have been caused by the tragic loss of the unreplaceable bassist Chris Heckel. Consider this Cypecore's own All That Remains "Forever Cold" EP, if you will.

Blasting off is "Chosen Chaos" which is one of the coolest song titles ever chosen. The EP doesn't follow the usual "Intro"/"Outro" aspect, so it has only a short amount of time for you to actually prepare for the chaos. The blasts and guitarwork strike through with their might. The vocals help make the song sound like melodeath-ish metalcore gone Disturbed. "Rise" is a nice display of a cleaner, more industrial sound. The guitar and bass shine instead of the previous track's drum blasts. Slight points off for the electronic overdose, but it's still good. "Spirals" has great harmonies that fit well with the screamed vocals. I also love the cleans and the bridge in the second half.

"Liquid Fire" is a strange track that's still OK. It's more nu metal-ish with some rapped vocals, closer to Korn and Limp Bizkit. Nonetheless, the usual madness is still going on at full force. Then we have "Rise (Death Version)", a version of "Rise" in which the vocals are screamed and the drums blast through. The sound here, along with most of the other tracks, is closer to metalcore than melodeath, which I can greatly accept. I love this heavier version more!

All in all, this EP sounds quite cool in the highlights, and I think they should've kept just the heavier version of "Rise" instead of the clean version that's still good. Version 4.5: The Dark Chapter might not be their best work, yet it can get you geared up for their next album. Time travel may not be real, but this dark futuristic music is....

Favorites: "Chosen Chaos", "Spirals", "Rise (Death Version)"

All That Remains are one of those mid 2000s metalcore bands that is either loved or hated. If you love this band, it's probably because they were just a heavier Killswitch Engage. If you didn't like All That Remains, it's probably because they were just a heavier Killswitch Engage.

Albums like The Fall of Ideals and Overcome were pretty solid albums back in the day; a good blend of melodic hardcore with some visceral heavy portions, complete with some really good guitar shredding. Now it's been seven years since the ATR (All That Remains) album and it kicks off with a bang. The double kick drum and Phil Labonte's scream on "Divine" are reminiscent to "This Calling" on The Fall of Ideals. And that intensity stays pretty consistent throughout the record. There is a nice blend of huge down tuned, almost death metal riffage, combined with some of the more mainstream accessible power chords, soaring melodies and guitar solos. Labonte's harsh vocals are just as impactful as they were the first time I heard "This Calling" and they do not change throughout the record. His singing though is much more restrained and held back like it has been on the last couple of albums. When paired with the harsh screams, the singing comes across as neutered. It's almost as if ATR is trying to stay true to their past, even though they cannot physically be that band anymore.

AntiFragile leaves me with a feeling of confusion. On one hand, I appreciate the album for its generally longer runtime since it feels like a complete project. Too many modern metalcore acts cut corners and release albums that are so safe and unchallenging; riff, harsh verse, sung chorus and done. This album has all of this, but not always in the same order. This album has connecting bridges giving them more character. From thrash and death metal, every song has a guitar solo break where a lot of metalcore has ditched this practice entirely. This should all be in ATR's favour, but then I remember what band I'm talking about. These are all tropes and trends that ATR have already largely employed during their golden run. Sure, they might be trends that metalcore has abandoned, but they aren't trends that can be easily forgotten. And as someone who lived through the hayday of melodic metalcore, I can hear this nostalgia farming from miles away. As a result, most of this album just...happens. It has a few standout moments, but they are few and far between.

I will not deny that you can have a pretty good time with AntiFragile if you just turn your brain off and reminisce on a previous era of metalcore. And newcomers might even like this album more because they never experienced the mid 2000s. But by ATR standards, you have heard this record before and would break under the pressure of previous ATR albums.

Best Songs: The Piper, Poison It, Let You Go

The brand-new All That Remains album Antifragile can be kind of considered their own Linkin Park From Zero. They've tragically lost a longtime member and it took around 7 years for a new album to be finished and released with a new member who can shine in the spotlight while respectfully maintaining the fallen member's legacy. Something different about that is, All That Remains stayed active and recruited the new member almost right away.

The long silence before this album was for several reasons. Not just the passing of guitarist Oli Herbert, but also COVID and a tough search for a new record label before deciding to go independent. I'm not kidding about new guy Jason Richardson shining well, his unique technicality from All Shall Perish, Born of Osiris, and Chelsea Grin, fits perfectly well with All That Remains' melodic sound. We also have the return of bassist Matt Deis (who performed in This Darkened Heart) and the relentless drumming of Anthony Barone (A Night in Texas, Beneath the Massacre, Shadow of Intent). With that, Antifragile is a path to a new era, one of perfect glory last achieved in the late 2000s!

As the first track "Divine" blasts open the gates, f*** yeah, All That Remains are back! This perfect comeback single is basically This Darkened Heart (especially with Matt Deis rejoining) gone Killswitch Engage. This surely does justice to the legacy of Oli Herbert. "Kerosene" lights things up with relentless bass/drum machinery rolling right through. It is a fire that can never be put out. Anyone who is up for All That Remains' less metalcore but still heavy tracks should check out "No Tomorrow". Again, Jason Richardson has done his job well in paying tribute to the late great Oli Herbert. "The Piper" is a more technical highlight, displaying his talents that help take the band to the next level. There's a lot more complexity than before while balancing it out with the usual hooks. Wonderful!

The title track hits hard, like "face-punch-bleeding" hard. It's quite strong and relatable for battling through life's struggles and rising against it all. "Forever Cold" is the single that has gotten me the most pumped up. I'll tell you ONE MORE TIME, Jason Richardson has done well in maintaining the legacy of the late Oli Herbert. "Poison It" pushes forward the technical boundaries yet again, throwing back to the heavier tracks from what I consider the band's heavier era (The Fall of Ideals, Overcome, For We Are Many, maybe more towards the latter two for the D-flat tuning).

Another superb comeback single is "Let You Go". Then we have "Cut Their Tongues Out", full of unbreakable roof-tearing thrashy metalcore chaos. Finally, "Blood & Stone" is the epic emotional closing track. The piano intro and outro are performed by none other than Jordan Rudess of Dream Theater. And in between is a metalcore extravaganza of heavy riffs and whimsical DragonForce-like leads. Philip Labonte lets out perhaps his most dynamic vocals to date. The perfect way to close this masterpiece!

I can't ever deny that Antifragile is the strongest and most passionate All That Remains album in 15 years. The legacy is staying solid with grand defiance in every move each member makes. Oli Herbert would be so proud. And thus an exciting new chapter for the band begins!

Favorites: "Divine", "The Piper", "Forever Cold", "Let You Go", "Blood & Stone"

After checking out Shokran's debut album Supreme Truth, I felt like skipping ahead 10 years into their new album Duat. It's time to find out how this album by Egyptian-themed Russian djenty progressive metalcore stands as a contender for the Revolution Gallery Awards for 2024...

Like many other bands I've listened to, Shokran has a blend of heaviness and melody that I can easily appreciate. Mesmerizing melodies are in great interplay with djenty heaviness. Dmitry Demyanenko is a true master of that guitarwork. The impact is enhanced by the clear production, giving the riffing more power. The vocals by returning member Sergey Raev can please any modern metalhead with his vocal antics.

"Khonsu: The Traveler from Thebes" has his cool vocals in best display. While his harsh vocals rule, I also love his cleans. The song itself is definitely worth repeat listens. Including some f***ing killer soloing! Another amazing album standout is "Set: The Shark in the Womb" with killer heaviness. There are some lower growls in "Thoth: The Silent Witness". Then "Amon-Ra: The Battle for Tomorrow" really battles it out as you can hear some bits of Born of Osiris and Wage War, mostly the former having left a deep influential mark for this band.

"Maat: The Feather Against the Heart" is another absolute favorite with lots of heaviness and variation. We also have the catchy clean chorus in "Horus: The Never Changing War". Then "Osiris: Your Death Is Just a Beginning" balances the Born of Osiris influences with Tesseract. "Isis: Caught in the Knot" is just filled with awesome fire.

"Anubis: Can’t Escape the Hound" is almost like a djenty take on the metalcore/post-hardcore of The Word Alive and Escape the Fate. The vocals reach great heights in the climax of "Tefnut: The Greatest Drought". The modern power in the melody can almost compete with Bad Omens. It stands out with its catchy chorus and more of those Egyptian vibes. I can almost give "Hathor: Drunken With Blood" the ultra-heavy crown. But it's the crushing "Imhotep: The Falcon of Gold" that takes the throne.

Duat shall never disappoint for the most part. All these strong riffs and leads make an essential part of this modern metalcore album. Just brush aside the barely-there variety and you can go on a metal carpet ride....

Favorites: "Khonsu: The Traveler from Thebes", "Set: The Shark in the Womb", "Maat: The Feather Against the Heart", "Isis: Caught in the Knot", "Tefnut: The Greatest Drought", "Imhotep: The Falcon of Gold"

Travelling from the world's largest country covering the northernmost part of Asia and a bit of Europe on the west side, all the way down to the Middle East and Egypt, Shokran can add in some oriental grooves to their djenty progressive metalcore. Following The Sixth Sense EP, the band got to work on their debut Supreme Truth. And its cool modern cover art seems to give away its release in 2014, NOT 2004.

Supreme Truth is a 15-track journey that's both heavy and mesmerizing. Most of the tracks have an average 3-minute length, which may seem mainstream but all their talent is nicely crammed so while they're all short, you'll get a lot out of them. Expect the unexpected...

The opening "Interlude" already gives you a head-start through the technical speed of the guitars, as the orchestral/neoclassical melodies zoom through in this inhuman rampage. Impressive! "Pray the Martyr" unleashes the growls and screams from the vocalist that fit greatly with the sonic melodies, before clean singing appears too. Low growls also spread through one of my favorite tracks "Ghost Ruins". The riffing and vocals are awesome there. "Memories" has a highly melodic chorus that's not too bad though different from what the band usually does. "Charon" has some of the best vocal diversity in the album. The growls, screams, and cleans all battle it out in more of the fast heaviness that modern metalheads will never get tired of.

"Collapses" is also nice in the vocals. "Original Sin" has more progressive originality. As does "Crotalus" which actually has some Eternal Tears of Sorrow-like synths. Another djenty favorite is "The Right to Sorrow", with its heavy riffing and soloing going well with the Egyptian atmosphere. "In Theatre of Illusions" is stronger but tiring at this point.

I absolutely love the title track, getting me hypnotized by the riffs and growls sounding like Whitechapel while mixed with stunning melodies. "Sands of Time" has the most development, lasting 4 minutes in length, a minute longer than most of the other tracks. The structure is also different! "Punishment" starts with an Arabic prayer. As a Muslim, I'm quite familiar with that aspect. The bad-a** "Dark Desert" is another great favorite. "The New Battalions" ends it all on a catchy note.

It's not everyday you witness a band that can blend oriental melodies and technical speed together, but it's quite a promising mix. This extreme hypnotic band is overlooked in a world of bands replayed on popular demand. I say the one thing tough about this album is the structure in these short songs. While you get a lot out of them, they really could've had slightly more consistency so they don't sound too similar. If there's one more band of oriental-ish technicality, that would be Born of Osiris. As remarkable as that band is, I can almost say the same about Shokran's debut Supreme Truth, filled with music and vocals from another dimension....

Favorites: "Interlude", "Ghost Ruins", "Charon", "Original Sin", "The Right to Sorrow", "Supreme Truth", "Sands of Time", "Dark Desert"

Having been a one time elitist, “all core is shit” type (until a few years of MA was under my belt at least), the metalcore world still occupies a very rare level of content in my listening habits.  On paper at least, metalcore should not be that alien a concept to me.  That combination of hardcore punk and the extreme elements of metal is a sum that I should have no problem with the outcome of.  I don’t mind hardcore punk and I obviously love me some extreme metal.  However, I think that true combination is not there in most of what I hear from the sub-genre, all too often getting infused with other elements that aren’t necessarily as advertised.  Enter Sorcerer’s 2024 album, Devotion.  This absolutely fits the above described blueprint perfectly.

Sorcerer are angry.  Not “my Mom took my Game Boy off me because I called her fat” angry though.  More of a gnarly level of pissed off that wouldn’t sound out of place on an Agnostic Front record.  Devotion is a real middle finger to the world type of album that certainly gets things off its chest whilst still deploying a strong ear for melody and pacing as it goes along.  Simply put, I could put Devotion on all day (in the right mood) and not need to change the record.  It possesses a level of angst that somehow is not intrusive, a sort of “getting on with it in the background whilst I do my ironing” kind of vibe.  Occasionally I am more engaged with it more than I am others because I too hate relationships/people in general (for example).  As it stands Devotion has been on everyday for about three weeks.  In the car, on the beanie earphones whilst in bed, in the office whilst I continue to battle the corporate monstrosity that I work for and even whilst gaming of late (this would make a healthy addition to the radio in GTA in particular I think).

My (largely untrained) ear picks up elements of Converge (whose You Fail Me album got a revisit off the back of listening to this Sorcerer record) and I am also reminded a lot of the gnarlier aspects of some crossover thrash that I have heard over the years also.  The energy levels are high for pretty much all of the record yet as I mentioned above, there is some care, some level of thought and attention to Devotion also.  Closing track Someone Else’s Skin, for example, starts off with a scathing almost bm tremolo sounding riff before veering into more familiar punk territory, settling into those crossover moments nicely again for me.  However, by the end of the track we have gone through some almost tender moments of reflection and contemplation, giving the track a real wholesome feel.  The photograph on the cover of the album is probably one of the best representations of what actually lies beneath.  Battle-hardened, wounded and ugly as fuck music with the tenderness of those tears on the soldiers face suggesting the depth I have been able to describe.

This 1997 album appears to be the only release from the Aussie hardcore punk / metalcore outfit, which is a great shame because this was a genuine surprise and I enjoyed it massively. I don't know what "real" metalcore fans think of it because, to my ears, this sounds first and foremost like a punk album with a metallic guitar sound, which is no problem to me at all. I'm not a large consumer of metalcore, but one of my bugbears with it being that so many of the modern bands sound alike and I have real trouble telling both the bands and their songs apart. But because of the marked punk component, this has a lot more character than some of the more modern metalcore bands I have listened to. In fact I am not even sure that some of the punk component even counts as hardcore, sounding catchy and melodic, more like second wave UK punk acts like Angelic Upstarts or Anti-Nowhere League, although elsewhere they do have a Minor Threat vibe going on. One of my favourite punk albums is Suicidal Tendencies' debut (their best by a country mile) and I found that springing to mind several times whilst listening to this. I must admit I didn't even realise that Callous were a christian-themed band until reading Daniel's review but, to be honest, I don't care one way or the other because I am more interested in the abrasive timbre of the vocal performance than the actual lyrics themselves and it still sounds pissed off and angry, no matter the lyrical content. In fact, let's face it, some of the straight-edge punks could be even more preachy than any christian act are ever likely to be.

I think that ultimately "In the Memory Of..." appeals to me so much because it has a strong individuality and character due to it having such a prominent early punk influence - a trait which is often just vestigial in more modern metalcore, leaving it often sounding very samey with everyone wanting to be Converge. Sadly it seems that most genres tend towards conformity at some point - and even punk itself fell into that trap with the endless stream of cookie-cutter skate / pop punk acts that proliferated in the wake of Green Day and Bad Religion's early success. If I am going to explore metalcore further with any chance of satisfaction, then I guess these earlier days of the genre are the best place for me to start.

A completely unremarkable djent/metalcore album from a band that has been quite unremarkable since I started listening to them (which granted is not that long ago).

If you've listened to any mainstream metalcore album over the last five years, you are already well aware of what the next forty minutes have in store. Are there eight string guitar riffs which are used as a shield to hide the existence of a true bass? Yes of course. How about formulaic pop song structures, complete with harsh verses and sung choruses? In droves. Monotone chorus deliveries by the vocalist? Check. Uninspired atmospheric instrumentals before whipping the listener into a djent fit of rage? You bet. And don't forget about those soft synthesized interludes!

I really wonder how much of this has to do with the bands roots as a symphonic deathcore band. That is not to say that I think Make Them Suffer should not change their sound, but the song themselves feel far less inspired and do a lot less to drive the listeners forward. Each song has the exact same tempo and follow the same verse-chorus formula. The alternating male/female vocals only help the record so much; credit where it is due, either vocal timbre is not limited to just doing the harsh or clean vocals. But when the band cannot do anything to compliment the vocals, it creates a massive problem for the rest of the recording, which just feels like an afterthought.

Make Them Suffer absolutely fall into the category of a singles band, similar to that of Lamb of God. Unlike Lamb of God however, Make Them Suffer supplementary material is significantly worse than their singles. If you checked out this album simple off the promotional singles, it doesn't get much better than that.

Best Songs: Epitaph, No Hard Feelings, Ghost of Me

I've been aware of Kentucky metalcore outfit Knocked Loose for three or four years now. I picked up on their highly regarded 2021 "A Tear in the Fabric of Life" E.P. shortly after it hit the shelves & found myself quite liking their heavyweight take on the genre. It would appear that the promise the five-piece band had shown on that earlier release was not a one-off either with Knocked Loose's recent third album "You Won't Go Before You're Supposed To" taking the hype register by the scruff of the neck & dragging it into rarely explored territory, even seeing the album becoming arguably 2024's most talked about metal record. After my experiences with "A Tear in the Fabric of Life", I felt pretty positive about the prospect of returning to Knocked Loose for another dose of aggressive metalcore, this time in a full-length album format.

The "You Won't Go Before You're Supposed To" album would once again be released through Californian punk label Pure Noise who Knocked Loose had been working with for a number of years by this stage. It would be produced by American Drew Fulk & is the first Knocked Loose full-length to feature second guitarist Nicko Calderon. The result is a huge, loud & in-your-face sound which makes the listener instantly stand up & take notice. The over-saturated guitars are bright, vibrant & extreme, very much enjoying the backing of a heavyweight rhythm section that drives this material with a no-holds-barred approach that is further accentuated by the consistently violent contribution of front man Bryan Garris whose vocal chords must have been a complete mess after this throat-shredding collection of anger-fueled tunes. He absolutely screams his fucking head off for the entire runtime of the album to be honest but, while some may say that he's s a little bit of a one-trick pony, in the context of such a short record (whose ten songs clock in at just a little over twenty-seven minutes) I never find him overstaying his welcome.

This stuff isn't anything terribly original but it's stunningly executed by an artist that is clearly one of the leaders in their field these days. If you find the classic metalcore breakdown to be tired & difficult to sit through then you may find yourself struggling with "You Won't Go Before You're Supposed To" because it's absolutely stuffed full of the fuckers. They're admittedly done very well though & the ADD-fueled arrangement ensure that they never hang around for too long before moving into something else either. The transitions are actually very well done when you consider how hyperactive & chaotic the song-writing is & I never get that jarring feeling that I inevitably experience when a band simply slap two widely disparate musical ideas together in a haphazard fashion here. Knocked Loose are a more professional act than that with even the odd jumpy nu metal riffs appearing to be fairly well placed.

Look... "You Won't Go Before You're Supposed To" certainly isn't gonna change too many people's opinions on the metalcore genre as it's more of a celebration of everything that its existing fans love about it & does it with a cheeky wink & an element of class & efficiency. It's a whirlwind of violence & vitriol which is generally what I'd suggest the genre was built to showcase in the first place, wasn't it? It pleases me that Knocked Loose don't fall into the growing glut of metalcore acts that seem to have forgotten their hardcore roots too with this material being built on a gritty base of punk urgency. The inclusion of a couple guest appearances help to break things up too with Poppy & Motionless in White front man Chris Motionless making effective contributions that help to ensure that the short album doesn't feel one-dimensional. It all works well as an holistic package & leaves me with the distinct feeling that all members of our The Revolution clan should be across this album which represents one of the more important & effective statements that metalcore has made in recent years.

For fans of Jesus Piece, Kublai Khan TX & Varials.

Imminence return less than a year after The Black with what I would have assumed were the demos or B sides for that record. But, it turns out that this record is, in fact, the re-release and ten year anniversary of the bands debut record from 2014. 

Unfortunately, The Reclamation of I takes two steps forward, then takes one step back. Imminence returned to form on this album when it came to writing infectious hooks and choruses. The way in which the band is able to gracefully pass melody between guitar and vocals is excellent. The choruses are also much more expressive than The Black and Heaven in Hiding.

Notice that I only mentioned the guitar and vocals when it came to melody. The big step back that this record contains is how little of the violin melody is incorporated. Given that this is the bands debut, I can accept that they wanted to stay true to the original article, but this would have been a amazing opportunity to make that record even better. I caught onto Imminence late, but I always thought of Imminence as being a simpler, more accessible version of Ne Obliviscaris; sonically at least. These two bands couldn't be anything else alike, since Imminence play very traditional melody/harmony metalcore, while Ne Oblivscaris are known for intricate contrapuntal performances. But now, with this neglection of this very crucial, and definitive part of the bands sound, Imminence would seem to have become just as formulaic and generic as any other modern metalcore band in 2024. 

In short, the album is fine. The compositions are solid and the vocals are its true selling point. However, if you were expecting this as anything other than a by-the-book replaying of the bands 2014 debut album, you are going to be severely let down, as I was.

Best Songs: Proclaim, Salt of the Earth, Those Who Seek

Before their 2024 album, A Wake in Providence was known as the band Will Ramos was in before joining Lorna Shore. Both bands toured with each other when Will was still with the former. They both released an album in October 2022, and it's obvious which one shook the world. A Wake in Providence thought they would try to up their game with something more epic and operatic.

Well I wouldn't say A Wake in Providence is that competitive, yet it really seems like these symphonic blackened deathcore Staten Islanders are trying to level themselves up in their 14-year career. The band consisting of vocalist Adam Mercer, guitarists D’Andre Tyre (also doing clean vocals and orchestrations) and Jorden Felion, and drummer Jesse Mcenneny thought they would make a more bombastic follow-up to 2022's Eternity for greater success. And yes, there's a lot of the fire and fury of Lorna Shore and Chelsea Grin, but is it as perfect as Pain Remains? Let's find out...

"The Maddening" begins with epic cinematic orchestra that then bursts open the deathcore gates, as Adam's demonic growls greatly contrast with D'Andre's cleans, just like how the brutal guitars collide with those orchestrations. "Mournful Benediction" keeps up the perfect balance this band has between melody and heaviness. Drum blasts, symphonic keys, and a guest vocal appearance by Shadow of Intent's Ben Duerr make the song guaranteed to be an eternal epic deathcore hit. "Agony, My Familiar" is a spooky piano/strings interlude. It segues to the head-ripping "Agonofinis", another blackened deathcore storm as the crushing riffs and blasting drums continue shooting through the ears of all who's listening.

"And Through the Fog She Spoke" will stun you through more of this epic clean/harsh structure. "In Whispers" makes the deathcore much more grim than it already is, once again mastering the orchestrations and drums. Then we have an epic deathcore hymn in the title track, perfect fitting Adam's vicious growls together with the overall sound.

As compelling as "The Unbound", unfortunately it ends up sounding a bit generic and pompous, already leaving me head-scratching by the end of it. The vicious "Pareidolia" again has insane drumming and vocals, though at this point, they've gotten a little stale. It's not until the final track "I, The Mournful", when the blend of brutality and melody reaches its much needed climax. Demonic vocals, guitars, bass, and drums connect with orchestrations and clean/soprano vocals for practically "In a Sea of Fire 2.0"!

Deathcore combined with symphonic black metal elements is something that certainly won't be dying out too soon. I Write To You, My Darling Decay shows A Wake in Providence sounding extreme and metallic while at the same time sounding melodic and orchestral. It's all good, though I think it would be a lot better if they could've dialed back some of the pompous orchestrations in a few songs and give a couple tracks towards the end greater improvement. Nonetheless, deathcore is becoming darker and more demented, and metal instrumentation isn't the only thing needed for that evolution....

Favorites: "The Maddening", "Mournful Benediction", "And Through the Fog She Spoke", "I Write To You, My Darling Decay", "I, The Mournful"

From Kent, England, Graphic Nature is another addition to the rising nu metalcore scene. Since releasing their first album A Mind Waiting to Die in 2023, they've become a main attraction in the more popular rock/metal festivals. They've also had Cancer Bats and Vended by their side in their tours!

17 months is around the same time difference between the births of me and my older brother. It's also how long it took after the debut's release for the band to unleash their second album to the world, Who Are You When No One Is Watching? The album is so emotional, with lyrics of showing one's true self. This concept stemmed from around the debut's release when vocalist Harvey Freeman was randomly assaulted during a train ride, and the PTSD Freeman has subsequently suffered.

The intro "Who Are You?" is quite exciting for something heavily distorted. "Locked In" kick-starts the action in massive impact, from both the music and vocals. "Blinded" has great heaviness, with some Spiritbox vibes. "Human" has more melodic synths, while blending it with heavy guitars, a balance already mastered by Sleep Token. "Something I'm Not" is a true highlight. It's more of a rap-ish nu metal track, though Freeman's rapping actually works quite greatly. That's the song with the most inspiration from the train trauma, with the lyrics rapped and screamed in emotional pain.

"Breathe" is more electronic, yet makes room for more of the ravaging nu metalcore. "Session24" is a pleasant interlude. It's basically TDEP's "Weekend Sex Change" given a BMTH/Enter Shikari twist. The hardcore heaviness shines the best in the short "N.F.A." Same with "Fractured", though it could've used some slight fixing.

"Low" is filled with heartful emotion, as Freeman lets out lyrics of his mental health to relate to those listening. Single "To the Grave" lacks some impact, but it still works here. "When No One is Watching" hits it high as the heavy metalcore sound is given a good taste of drums and bass. The final track "For You" perfectly summarizes all the band has given you in this album.

Who Are You When No One Is Watching? is another blessing for 2024 in the nu metal and metalcore realms. The amazing production and relatable lyrics should please many listeners. This shows that Graphic Nature can stand out in the nu metalcore crowd!

Favorites: "Locked In", "Blinded", "Something I'm Not", "N.F.A.", "When No One is Watching", "For You"

As some of you have probably realized over the last year or so, my taste in the more conventional brand of metalcore tends to lean quite heavily towards the 1990's as I'm firmly of the belief that the metalcore scene has largely lost its direction in more recent times with most of the hardcore influence that defined the genre having now been lost, rendering the genre title almost completely redundant at this point. I mean, I can't honestly believe that many hardened punks get all that much out of the modern-day melodic metalcore record with its crisp production & technically precise performances, not to mention the generic, cookie-cutter vocals that sound virtually indistinguishable from the last metalcore record you listened to. I'm not saying that people shouldn't enjoy that stuff as it certainly has its positives. What I'm trying to say is that, outside of the vocal style, it has very little to do with hardcore punk which is kinda the point now, isn't it? Anyway... that's the reason that most of my time in The Revolution clan is spent seeking out unheralded gems from the early scene &, to be fair, it's been a fairly rewarding exercise of late. Over the last few months my attentions have been directed towards the earlier examples of the metalcore sound to come out of my home country of Australia, partially because I was in & around the live metal scene at the time & had some exposure to some of the bands it contained. One artist whose name I saw floating around the Melbourne scene at the time was Callous, a band that was partially formed by past & current members of some of the more extreme Melbourne metal bands I was listening to at the time, namely Christian death metallers Mortification & underrated doom/death exponents Paramæcium. On paper that idea has always seen my curiosity being tweaked so I've had Callous' sole 1997 album "In the Memory of..." on my list for many years now & it's time to finally see what these guys have to offer.

"In the Memory of..." was one of the very first full-length metalcore albums recorded in Australia but you'd never know it as it's a very professionally composed & executed piece of art in its own right. The production is excellent for a self-released debut with the accomplished song-writing benefiting from a bright & attractive production job. The guitars are right upfront in the mix & hit you across the face in just the right way while the rhythm section offers plenty of bottom-end depth. The vocals are suitably vicious too which is a big drawcard for Callous, even if you will have to overcome one obvious obstacle if you're to fully appreciate this record. That's right, it's the unapologetically Christian lyrics which can sound pretty preachy at times. Thankfully, I've never been one to worry too much about what a band is going on about in my metal music but even I found myself struggling to hold back a cringe through a few of the tracks from the B side so if that's a real deal-breaker for you then don't say I didn't warn you.

The Callous sound is made up of a few different components but I think it's fair to say that it mainly sits somewhere between metalcore & hardcore punk so the use of the metallic hardcore tag I see being used across the internet these days is just about spot on. This record sounds a little bit more flashy than your average hardcore record with the guitars have a cleaner & more metallic sound but many of these songs are built around what are more or less open-string hardcore riffs. There's a little more melody included than you'd generally expect from hardcore too though with tracks like "Lost Hope" & "Twice Begun" feeling as much like alternative metal as metalcore to tell you the truth. Through the back half of the album you'll also notice the band taking a little more creative license with their arrangements by veering over towards post-hardcore for brief periods. I appreciate the effort but feel that Callous are at their best when they're at their nastiest so I tend to gravitate towards the more traditional hardcore-based numbers, even more so than the chuggier metalcore material.

The tracklisting is very consistent & one gets the impression that the various band members that made up Callous had already paid their dues over a number of years because there's a class to their delivery that I find quite attractive & which leaves me of the belief that they were probably incapable of producing anything that was noticeably subpar at this point. In saying that, the tracklisting does seem to look like an inverted bell curve when you look at it in fine detail. The best material is loaded towards the front & end of the album with the first four songs getting things off to an excellent start. The weaker material is still pretty decent though so it's not a major big deal but you'll certainly notice when things pick up again for closer "No Apologies" & the excellent hidden track which should definitely have been better highlighted by inclusion in the proper tracklisting given that it's one of my favourite songs overall.

While "In the Memory of..." may not be the most memorable metalcore record you'll ever hear, it was certainly a fine way to kick off a recording career, particularly given that it was self-released. It's a shame that Callous didn't go on to much in the future. To be honest, this album was very close to a four-star rating & it was only the slight drop in quality through the middle of the album that saw it falling just short. Still... it's a travesty of justice that this release has seen so little publicity over the years because I'd take it over some of the more widely acknowledged 90's metalcore records like Earth Crisis' "All Out War", Converge's "Petitioning The Empty Sky" or Arkangel's "Prayers Upon Deaf Ears", not to mention Aussie metalcore godfathers Mindsnare's 1995 debut E.P. "Under Fire". I can only think that it was Callous' religious messaging that cost them greater commercial success which is a real shame & yet another blemish on the record of the Christian faith.

For fans of Mindsnare, Day of Contempt & Ultimatum.

From St. Louis, Summoning the Lich are making death metal for scene kids. Now that might sound like a humongous insult, but The Black Dahlia Murder have been around and always managed to stay hip with those hardcore kids. So it's only natural that someone would come along and double down on this audience.

Many other metal forums say that Summoning the Lich are just Black Dahlia Murder worship, but I'm not sure I get that impression from Under the Reviled Throne. There are a lot of fast moving, technical passages here; plenty of high intensity riffage, blast beats and alternating between death metal howls and deathcore screeching. What Summoning the Lich does well with this album is not making these songs just sound like technical wanking and have some well composed songs on display. They might not be the most memorable in hindsight, but in the moment they sound well composed with some detail given to melodic dominance. It almost gives me a hint of Allegaeon in its presentation, which I was certainly not expecting. The breakdowns are not as intimidating as the modern deathcore breakdown; they act more as momentary reprieve's before the heavier death metal returns, which is how breakdowns should be incorporated into death metal anyways. 

Under the Reviled Throne is an album that shows a lot of promise on the outset, but in execution, the album seems to have run out of tricks in the bag about half way through. I was getting tired of the triplet feel transition on every song, I was getting frustrated that almost ever track followed the same structural format, and I really wasn't a fan of how Summoning the Lich disguised this lack of variety through key shifting. The bass lines are also severely lacking and makes the mix of this record feel less heavy as a result. It's a decent album with some good moments, but not worth the full runtime given how repetitive it becomes.

Best Songs: Reviled Crystal Wielders, The Carrion Fleet, The Void Gate

Holy sugar honey iced tea! System of a Down's Shavo Odadjian decided to go on a more metalcore route with his new band in which the title is an acronym for his first name, Seven Hours After ViOlet. He has formed a solid lineup that includes American Idol runner-up Alejandro Aranda and members of deathcore bands Left to Suffer and Winds of Plague to create a good album of alt-metalcore, released via Sumerian Records a couple months before this review.

Shavo still has what it takes in the nearly two decades after System of a Down's last duo of albums. His latest entrance into metalcore has given the scene more exciting light. A creative impact has marked this territory...

Kicking things off hard is the heavy "Paradise" in which fast rhythms and grooves stick together with some clean melodies. Then we have "Alive" which marks a wild melodic metalcore standout. After that one-two punch, "Sunrise" doesn't impress me so much when the heaviness and melody lack balance. At least the clean/harsh chorus keeps it interesting. Still it's not really a track to start with on a whim.

Now we really go hard in "Go!" which, f***ing h*ll, is so insane! Lots of speed and destruction from the music and vocals, with a fun anthemic chorus. Then "Float" floats by with forced melody that comes out a little too plain. But I love the short intense beast that is "Glink". Forget "Cry...", it's too much of a dramatic sh*tter.

Stomping through is the mesmerizing "Abandon". The grand "Radiance" can lure any listeners in, and you can't escape its grasp of power. As we reach the album's final leg, "Gloom" sounds compelling though doesn't reach its potential strength. Neither does the finale "Feel" while still having some power to engage listeners. Pretty much a decent ending for this cool offering.

Any fan of System of a Down would be curious enough to discover this band and album. It's a love it or hate it kind of album, but for me it's somewhere in the middle. I'll see you all later, perhaps after Violet....

Favorites: "Paradise", "Alive", "Go!", "Glink", "Radiance"

Shadow of Intent made a couple albums based on their favorite video game franchise Halo. After that, with another new lineup, Ben Duerr and Chris Wiseman have made a separate concept album about mass suicides at the hands of a demonic goddess. So dark, so depressing, yet... so intriguing!

Until at least 5 years ago, I was never really into deathcore. At first I thought it was like standard death metal with metalcore breakdowns. The kind of deathcore I prefer is when the genre goes progressive and symphonic. I only just discovered this band a couple years ago, and eventually it has managed to grow on me. Whether or not you have heard this band before, this symphonic melodic deathcore offering will impress the sh*t out of you and get you headbanging throughout these 52 minutes of darkness.

The title opener shall already get you hooked in the first minute, as epic strings rise into metal heaviness to begin this stylistic journey. The melody is so addictive in this, you guessed it, melancholic might. And more of this heavy speed awaits as the album progresses. The beastly "Gravesinger" is a true highlight. Seems like Shadow of Intent took Betraying the Martyrs' earlier sound to a much darker level alongside some classical elements of Bach and Beethoven mixed with some of the most brutal metal subgenres out there. This might also include some Dimmu Borgir-like symphonic black metal in the middle. And the outro with neoclassical soloing before a symphonic closure is just EPIC. The Trevor Strnad (The Black Dahlia Murder)-featured "Barren and Breathless Macrocosm" practically surpasses the previous track. Insane drumming and vocals here! The riffing reminds of early Whitechapel, especially during the cinematic ending. RIP Trevor... "Underneath A Sullen Moon" was the first single to drop, a year before the rest of the album. The Dimmu Borgir influences are taken further while throwing back to the technicality of Primordial. So dark and crushing!

Then we have the brooding "Oudenophobia". And after that, "Embracing Nocturnal Damnation". 3 dark 9-letter words that fit so well together. Just like how the sounds of Eternal Tears of Sorrow, Fleshgod Apocalypse, and The Browning (without the electronic elements) all fit together like a glove in this track. When you have songs like "Dirge of the Void" that blast through in a short 3 minutes, there's no way you'll ever be consumed by boredom. As always, the harsh vocals by Ben Duerr and the clean vocals of Chris Wiseman duel with each other at ease. Chris' cleanly sung chorus totally brush aside his atrocious attempt at that in the Primordial album.

"Chthonic Odyssey" spices up the band's symphonic melodic deathcore sound with the blackened elements of Chthonic and a bit of djent from Tesseract. "The Dreaded Mystic Abyss" is a long instrumental epic, a mind-blowing monster that has hit me the hardest in my over a decade of listening to metal. I guess this could be what the DOOM soundtrack would sound like if Angel Vivaldi teamed up with Mick Gordon. 10 minutes of atmospheric, epic, and brutal genius! The album doesn't end there though, making way for one more track, "Malediction". It is a monumental gem, one of the best I've heard from this band and genre. I really am torn between whether this is the perfect ending for the album or that long instrumental epic.

Throughout the past 5 years before this review, albums like Make Them Suffer's Neverbloom and Lorna Shore's Pain Remains have been my go-to albums for symphonic deathcore. In comes Shadow of Intent's Melancholy, an epic riff-tastic melodic deathcore album to please any metalhead. I just found a new best album of 2019!

Favorites: "Gravesinger", "Barren and Breathless Macrocosm", "Dirge of the Void", "The Dreaded Mystic Abyss", "Malediction"

Like fire rising from the abyss, metal can ascend from the underground and burn into the ears and minds of listeners. This is especially true for deathcore, despite all the hate the genre has received. I suppose that was around the time when deathcore bands that were active for a decade like Whitechapel were attempting to make their sound more commercial, and the outcome for fans was "What the f***ing h*ll was that?!?" Shadow of Intent, on the other hand, made the genre more interesting with their symphonic technical melodic deathcore style, starting with their solid debut Primordial. This interstellar sound is slowly rising further in Reclaimer, to brutalize the cosmos!

It seems like this band is taking the place of Winds of Plague who was fading out of activity, apart from that band's latest album Blood of My Enemy later that year. What's different is, Shadow of Intent have made the sound more melodic and technical, the latter aspect reminding some of The Faceless (also releasing their latest album that year). Alongside those more melodic moments, we also have the neoclassical brutality of Fleshgod Apocalypse. Just like that band, thrashing blasts and diverse harsh vocals collide with film-score orchestra. And what else do we have in this epic extreme extravaganza? The guitarwork of course! The technicality comes from not just the deathly riffing but also the neoclassical shredding that would make Yngwie Malmsteen proud.

"We Descend..." is the intro and the first track by the band to not start with the word "the". I didn't think this would be the missing spark needed to get me fully interested in the band via a Revolution playlist, but that was the case there. The first 20 seconds consists of beautiful melancholic piano, then the heaviness builds up, reaching it's high point in the breakdown for the last 30 seconds. This is two minutes of my life I wanna repeat! How the f*** have I missed this in my life?! It is followed by the first full song "The Return" in which technical deathcore practically combines with the symphonic power metal guitarwork of Symphony X and Iced Earth. If the clean vocals were higher and more operatic, the band would've beaten Dragoncorpse in that game. Plus there's some medieval harpsichord! Now there's still the more extreme side of the spectrum with the brutal breakdown and the blackened death growls. It's amazing that the vocalist Ben Duerr would still have that power in their next album. "The Horror Within" is a brutal blend of Impending Doom, Pestilence, and the symphonics of Ice Nine Kills. There's even a paraphrased quote from a Spongebob Squarepants episode in the lyrics, "The inner machinations of their minds are an enigma". Next track "The Catacombs" is the first track here with guest vocalists; Jason Evans (Ingested) and Dickie Allen (Infant Annihilator, Nekrogoblikon). Evan's vocals make things as brutal as Pathology in the heavy guitar grooves, while the symphonics still drift by.

"The Mad Tyrant's Betrayal" has some of the melody of Attack Attack! and Phinehas, particularly in the clean singing sections (far better than that one song in Primordial), while staying deathly as ever. The vocals in "The Gathering of All" end up going as intense as deathgrind when Slaughter to Prevail vocalist Alex Terrible steps in, though the speedy riffing is more reminiscent of The Black Dahlia Murder. "The Heretic Prevails" really prevails with this 3-way intersection between Fleshgod Apocalypse, Carnifex, and even the progressiveness of Protest the Hero. Tom Barber, who was at the time still with Lorna Shore and not joining Chelsea Grin until the following year, screams his way through "The Prophet's Beckoning". The melodic guitars and cleans stir up similar vibes to In Mourning and The Gallery-era Dark Tranquillity. Y'know, this isn't the only time I've heard Alex Terrible and Tom Barber in the same album. Listen to "We are the Dead" from As I Lay Dying's new album Through Storms Ahead to know what I mean. But let's not get to that right now. The last third of this album awaits...

"The Forsaken Effigy" is still deathly while having more metalcore-ish riffing from the heavy side of bands like Crystal Lake and Demon Hunter. Meanwhile, the blackened shrieks sound closer to Psyclon Nine. "The Great Schism" is a massive instrumental that has practically everything from bands of similar genres, including the deathcore of Impending Doom and Betraying the Martyrs, the melodeath of Omnium Gatherum and Persefone, and even the melodic metalcore of All That Remains and Unearth. "The Mausoleum of Liars" has some Voivod-ish progressiveness, but nothing else too special. "The Tartarus Impalement" is an epic of symphonic deathcore destruction and despair. It starts a bit mundane in the first 4 minutes, then the epicness rises at over the 4-minute mark with such great music, lyrics, and vocals. "And I'll never see home again, never comfort my wife as she mourns and I'll never hear the cries of my firstborn son, How can I possibly continue on?!" F***ing d*mn, man! Pure beauty and emotion rolls on throughout that minute. Then comes another amazing minute where the band work together to unleash their power in battle. The final climax goes on the last one and a half minute as the hero impales the enemy and rules in victory. Talk about such a finale for this offering! Though it probably would've been better in the first half...

Every song in Reclaimer has its own feel within this epic extreme sound. The band can be in the mood to go brutal, technical, or melodic. Either way, they still stand by their sound, and that and their lyrical concept helps keep the album consistent. The concept is heavily Halo-based, which is no surprise considering how much the band members enjoy that game and possibly any other sci-fi shooter video game. Think they can do a Star Wars Battlefront symphonic melodic deathcore album later on? With all that genuine songwriting and musicianship, Reclaimer comes on top as one of the better albums of this style of deathcore, maybe even all of deathcore. It would've been perfect, except my only complaint is, some additional breakdowns should've been included alongside the speedy guitar sections to bring more balance to the epic technical melodic deathcore universe. Still if you're playing Master Chief and need some killer music, let this amazing album play and fire away!

Favorites: "We Descend...", "The Return", "The Catacombs", "The Heretic Prevails", "The Prophet's Beckoning", "The Great Schism"

There comes a time when a band is starting out with just a vocalist and an instrumentalist, relying on programming for strings, bass, and drums. When Shadow of Intent began their journey like that, they've managed to make it all sound as organic as they would in subsequent albums when human members joined this lineup. Those textures add more flavor to make this symphonic/technical/melodic deathcore dish, with vocals and speed that melodeath fans would crave...

Their debut album Primordial, along with their next one Reclaimer, were inspired by the Halo video games and take you through this interstellar extreme realm. The precise machinery of the deep riffing, rapid drumming, and searing soloing can be associated with Rings of Saturn, while symphonic strings replace all that 8-bit atmospheric jazz.

The rising dramatic strings that begin "The Prelude to Bereavement" might make you think it's an actual prelude, but that all changes when the heavy instrumentation comes in. It's basically a more epic brutal take on the Finnish melodeath of Insomnium and Omnium Gatherum! You can consider "The Shaping Sickness" a blend of the bands Fleshgod Apocalypse and Gravemind. It sounds vocally better than in the demo EP Inferi Sententia (containing demos of half of the amount of songs in the debut). "The Invoking of the Execution of Worlds" takes the Fleshgod Apocalypse influences further. "The Cosmic Inquisitor" has some pieces of the tech-death/thrash of Revocation, from the heavy intro riffing to the sweeping guitar soloing. Brutal guest vocals are done by Dan Watson, former vocalist of Infant Annihilator and Enterprise Earth.

"The Didact's Will" is an 8-minute epic in the middle of the album instead of the end. They basically made a more epic round of 2000s Avatar-like melodeath while also adding in some progressiveness from 90s Anacrusis. Thrashing around further is "The Last Bastion", especially towards the end. "The Battle of the Maginot Sphere" continues to rely on the growls of vocalist Ben Duerr, but it doesn't always work in times when he goes as fast as a rapper or an auctioneer. When he slows down to a more understandable speed though, that's when the vocals and music are in well-engaging interplay.

Then we have some clean verses in "The Twin Revelation" sounding close to Trivium. The big problem is, the clean singing sounds a bit whiny, almost like that guy from The Gathering's Almost a Dance. Luckily, there's none of that in other tracks. The instrumental "The Aftermath in Jat-Krula" pushes forward a symphonic mix of the deathcore of 90s Embodyment and the melodeath of early 2000s Soilwork. For "The Indexing", think of it like a killer blend of Betraying the Martyrs, At the Gates, and Yngwie Malmsteen.

Theatrical symphonic melodic deathcore is what the American metal scene needed in a time when people were getting tired of hearing melodic metalcore bands like Killswitch Engage for over a decade. Actually, both the symphonic deathcore and melodic metalcore scenes are timeless to me. The point is, Primordial shows that Shadow of Intent has potential to help build up the former despite staying an underground band. If you're up for a blend of Fleshgod Apocalypse and Rings of Saturn, this is it right here! Just note that it will take some time to grow on you, as it did for me for 3 years via several of their songs, starting with that killer final track....

Favorites: "The Prelude to Bereavement", "The Shaping Sickness", "The Cosmic Inquisitor", "The Didact's Will", "The Indexing"

When Make Them Suffer started releasing some new singles with their new keyboardist/co-lead vocalist Alex Reade, replacing Booka Nile who left due to abuse allegations, they were some of the best, most kick-A singles I've ever heard from this band's new era. Even my brother likes a couple of those singles. They really made me look forward to their self-titled album, and it has all the greatness I hoped for!

Formed in 2008 in Perth, Australia, Make Them Suffer has had such a powerful evolution that has never worn down. Beginning with pre-Lorna Shore epic deathcore in their glorious debut Neverbloom, they've gotten less deathly and more melodic over the years. With their brand-new self-titled album, their successful journey continues.

The intro "The Warning" has climatic choral vocals leading into industrial synths. Then it blasts into the grinding guitar grooves of "Weaponized". The chorus is where you first get to the beautiful cleans of Alex Reade, greatly balanced with the unclean growls of Sean Harmanis. The sky is the limit, and they made it higher with a lot to expect in this album. "Oscillator" is another kick-A track worth headbanging to. This and "Doomswitch" really make my day, the latter being a f***ing masterpiece of a banger!

As with some of the other tracks here, "Mana God" has Harmanis growling the song title as early as the intro. The modern downtuned metalcore is displayed in reckless abandon, with not many clean melodic moments in this track. The growling power of Harmanis is backed up by some additional screams from Reade. The pause on the usual structure helps cut down on the repetition and makes you remember how enjoyable this album is. "Epitaph" kicks things up h*lla hard. Reade has more of the divine spotlight in "No Hard Feelings". The heaviness is toned down slightly for some lovely melody, while staying fast and killer. Harmanis continues his harsh screams while also offering some gruff singing behind Reade. They both might make the best metal vocal duo of the year alongside Linkin Park's Mike Shinoda and Emily Armstrong!

Then Reade is out and Harmanis is in all the way in "Venusian Blues". His clean singing doesn't catch my attention as much as Reade does, but he easily show his different techniques in more ways than vocalists in other bands. The technical instrumentation will make sure you don't stop listening. "Ghost of Me" is a well-done standout single with amazing lyrics! Sean's incredible vocals help maintain the band's bad-a** single streak. We have more of the band's signature in heaviness in "Tether". Finally, "Small Town Syndrome" ends the album with the best the band has to offer. Not just from the two vocalists, but also the impressive instrumentalists that help run the machine.

Make Them Suffer are at the top of their game once again, helped out by Alex Reade, who has never given up after her previous band Drown This City fell apart. This album is the most incredible one by Make Them Suffer since Neverbloom, and even the mundane verse-chorus structure has some variation. They're back and stronger than ever!

Favorites: "Weaponized", "Doomswitch", "Mana God", "No Hard Feelings", "Ghost of Me", "Small Town Syndrome"

Melbourne four-piece Mindsnare have played an enormous role in the creation of a thriving metalcore scene in Australia over the years & I feel somewhat privileged to have encountered them at a very early stage of their career when I discovered that they were practicing at the same rehearsal studio as my death metal band Neuropath during one of their early trips up to Sydney. I'd subsequently pay their rehearsal room a visit & would sit on the side with beer in hand as they'd smash out a succession of super-tight & highly energetic New York hardcore-inspired numbers that left me thoroughly impressed with both their undeniable professionalism & their overall heaviness. I've maintained a strong level of respect for Mindsnare as artists over the several decades since that experience but have always wondered if their studio recordings could possibly match the electricity of a live Mindsnare performance. The band's 1995 debut proper release "Under Fire" would seem like as good a place to start as any as it would have been roughly around that time that I had the pleasure of bumping into them so I guess I'm about to find out the answer to that long-standing question.

The version of "Under Fire" that I've explored this week includes the eight tracks that were intended for that release as well as Mindsnare's four-song demo tape from the previous year. The production job on the E.P. tracks is nice & clear with good separation between the instruments which does tend to highlight the simplicity of the song-writing with the arrangements & riff structures being kept fairly uncluttered & open. The band members seem to be very much in tune with each other with the performances being extremely tight so it's no wonder that Mindsnare were able to conjure up such a targeted & controlled live assault based on just how finely honed their attack was at the time. Vocalist Matt isn't the most amazing vocal talent you'll find but he does fairly well with what he's got & is backed up by the regular use of gang vocals in support. The New York hardcore influence is really clear throughout but the demo songs included on the CD are definitely a bit rawer. I tend to prefer their thrashier & more violent feel over the cleaner & more controlled E.P. direction to be honest.

I do have to admit that the E.P. material is a little hit & miss for me with a few flatter numbers seeing my attention wavering at various stages of this short 26-minute release. "New Horizon", "About Time" & "Conveyer Belt" all fall into that category & unfortunately Mindsnare haven't managed to produce any genuine highlight tracks that leave me exhilarated enough to overlook those flaws with all of the better material still failing to see me fully convinced. It's not until the demo songs that I find my blood really pumping with hardcore punk belter "False Front" & the crossover-infused closer "Look Past Me" being the clear high points of the release in my opinion. I particularly enjoy the more savage guitar tone on the demo material as it simply feels more dangerous to me which is important with a metalcore release.

It probably should be noted that metalcore isn't one of my preferred genres so it's rare for me to venture out into my higher scores when presented with The Revolution releases. Therefore, a 3.5-star rating isn't a bad result for a relatively unknown Aussie release that competes pretty well with the overseas competition. I just think that "Under Fire" is a little bit too basic for me to get all hot & bothered about. I definitely enjoy its thrashier moments the most which isn't really any surprise but I do get the feeling that Mindsnare's best material was likely ahead of them when listening to this debut release which isn't terribly ambitious. In saying that, I'm not too sure I can see myself putting the time into any of Mindsnare's later works so this might end up being my long-term position on them as a recording artist. Don't let that stop you if you're a big metalcore fan though as you can do a lot worse than this early Australian release.

For fans of Earth Crisis, Merauder & All Out War.

It takes Better Lovers just fifteen minutes to bring the rush of memories back to Every Time I Die's popular brand of southern metalcore. And the result is something that sounds really cool, but I feel like it could have done a little bit more.

Part of this is how similar this EP sounds to the aforementioned band and the inclusion of Greg Puciato on vocals does not change much. Perhaps I was kind of expecting a little bit of a pivot that would differentiate Better Lovers from Every Time I Die, but perhaps it was also a compositional decision in order to quickly bring in old fans who could easily pick out that sound and style.

As for the compositions themselves, they aren't too bad. "Become So Small" and "30 Under 13" certainly have some wallop to them, while the cleaner "Sacrificial Participant" and title track have a nice alternative feel and show off the bands melodic side. The instrumentals are punchy and gritty, while Greg's vocals are decent as well, but likely at their worst on the opener "Sacrificial Participant", if only for their lack of dynamic growth.

Overall this is a decent debut EP for Better Lovers that, once again, will fill in the missing hole in your heart left by Dillinger Escape Plan and Every Time I Die. However if this band wants to be more than a simple nostalgia act, they need to modernize and improve the formula in some way or another, otherwise this animal will go extinct before its had a chance to reproduce.

Best Songs: 30 Under 13, Become So Small, God Made Me an Animal

I can say with utmost certainty that Every Time I Die was not apart of my go-to metalcore bands during the 2000s. I never disliked them, but in comparison to the festival metalcore that was popular late in the decade and even into the 2010s, they never crossed my mind. That said, I was surprised by the “mainstream” pivot with records such as Ex Lives and Low Teens late into their career, with some of Low Teens still serving as regular playlist fodder for me.

When ETID (Every Time I Die) broke up, it left a noticeable hole in the metalcore scene, since their brand of southern metal was one-of-a-kind. And it became a huge deal when three of ETID’s members were heard in studio with ex Dillinger Escape Plan vocalist, Gerg Puciato. And thus, Better Lovers came to be. The bands debut EP (God Made Me an Animal) was a wallop of southern metalcore that was certainly fun, but also felt too like the other band.

Highly Irresponsible by contrast is a record that has the distinct sound of ETID, but with a little extra flavour. The album is grimy and lacks polish, but the instrumentals have a bit more flare than one might expect from a classic ETID album. It should be all the makings of a disaster record, yet somehow the southern rock influence remains constant throughout. Highly Irresponsible sounds ferocious.

Greg Puciato might have something to do with that. The vocal delivery of Puciato is very different from Keith Buckley. And if I’m being completely honest, Puciato’s vocals fit the intensity and style better than Buckley. These vocals are distinct and lack the clean polish that were present on previous Dillinger records. But the vocals are not perfect; I do not remember Puciato’s clean singing being this hit-or-miss, however some of the cleaner songs like “A White Horse Covered in Blood” have this eerily out-of-tune vocal presentation that does not sit well with me.

The compositions are varied, which is nice, but lack consistency. You can hear sporadic mathcore influence from Dillinger Escape Plan, some straightforward bangers from classic ETID, as well as the more melodic side of that band that was present on Low Teens. Some songs are catchy, like “Future Myopia”, but other like “Superman Died Paralyzed” just scream album filler. Meanwhile, the ending is odd. “At All Times” has the classic sound of resolution on a metalcore album, only for “Love as an Act of Rebellion” to show up and rip the band-aid off for one more assault; it felt like a classic bonus track on a physical album, but without the secret.

This record might turn out to be a grower for me. While I do like Better Lovers for their blending of styles from their previous endeavours, it almost feels like too much of a good thing. Highly Irresponsible shows the love for Every Time I Die and that these mates still have plenty left in the tank to offer us. However, in doing so, Better Lovers created an album that is missing polish. I am willing to let it slide for now, but it would be irresponsible of me to give them the benefit of the doubt in the future.

Best Songs: Your Misplaced Self, Future Myopia, Deliver Us From Life, Love as an Act of Rebellion

It appears to me that the metalcore kids are beginning to take control over a sizeable portion of the progressive metal community. The kicker is that they don't call it "metalcore" so as to draw the unimpressed Eyre of the progressive metal snob. Instead they call it "Djent" with a silent "D" to prove their sophistication. Allt are a generally new band out of Sweden who made strides throughout the early 2020s and released From the New World just the past week as their first full length LP. And let me just say: nothing about From the New World is remotely prog. It contains thall tuned guitars, atomic drop breakdowns, glitchy production and the occasionally catchy vocal hook. And yet I still really enjoyed it.

I know this album is not without its faults. The production can become excruciatingly frail at times; when guitars are tuned this low with this much feedback, it only makes sense that their would be some peaking in the mix.  In addition, the overall texture of this album does cause some of the vocal lines to become condensed and resorted to backgrounds. But even with all of that, From the New World is actually very concise, has more than its fair share of catchy grooves and licks, and the production issues are more sporadic than I might have made them sound earlier; it's probably a better produced record than the recent albums from Humanity's Last Breath or Currents.

Best Songs: Remnant, Echoes, Emanate, Ephemeral

Back in 2012 I had a close friend that was going through a pretty hard time on a personal level but had started to embrace metal music as a not only a form of release but also a way of connecting with me. We would head out to live shows quite often at the time & she was generally pretty open to learning about all styles of metal so there were often gigs that we attended where neither of us knew much about the headliners. One such gig would be an Earth Crisis show at Sydney's Manning Bar in February of that year & we bought tickets for it with plenty of time to spare so I decided to explore what Earth Crisis had to offer in the weeks prior. This led me to checking out all of the New York metalcore legends' back catalogue to the time in quick succession, starting with 1992's super-raw "All Out War" E.P. & finishing with their latest release to the time in 2011's "Neutralize the Threat" seventh album. While a few of their records left me fairly cold (see "All Out War" & the run of three albums from 1998 through to 2001), there were some entertaining listens to be had elsewhere with their peak period coming between 1993's "Firestorm" E.P. & their 1996 sophomore album "Gomorrah's Season Ends" (which was my favourite at the time). Earth Crisis ended up being pretty disappointing live & my friend found the violent crowd of dickheads to be pretty hard to tolerate so it wasn't the best night I've ever had but my relationship with a couple of Earth Crisis' best releases has been maintained & I've been looking forward to revisiting them again in recent times.

1993's "Firestorm" E.P. very much represents their coming of age as a band. While the "All Out War" 7" single sounds more like a demo, Earth Crisis' second proper release sees them being catapulted into the metalcore limelight with a vastly more mature & well-defined sound. The production job is excellent which gives the simple arrangements enough weight to hit the listener right in the chest with the band's tight & chunky New York hardcore-inspired riffage. Earth Crisis certainly stay well within their capabilities here as they were far from being virtuosos but they seem to really know their limitations & work well inside those parameters. In fact, the guitar work on "Firestorm" is particularly basic, so much so that virtually any guitar novice could tackle this material with confidence. But it's also entirely effective as the song structures are fluent & there's miles of room left to highlight the outstanding vocal prowess of angry front man Karl Buechner who I find to be comfortably the focal point of this release. His aggressive delivery feels entirely authentic & you'll genuinely believe that he's lived his lyrics.

The E.P. contains just the four songs, the first two of which are joined together & represented as the one lengthy track. All four are worth hearing but it's the first three that are where the real gold is here with the title track remaining as Earth Crisis' signature tune to this day. My personal favourite is mosh pit anthem "Unseen Holocaust" but I could just as easily have selected "Firestorm" or "Forged in the Flames" as there's not a lot between them. Closer "Eden's Demise" contains a few riffs that I consider to be a step down from the rest of the material on the E.P. but it's still more than acceptable so "Firestorm" is a rewarding & consistent release that sees Earth Crisis flexing their muscles with a newly found purpose.

So, is "Firestorm" Earth Crisis' best work? Well, I didn't think so up until now but perhaps I might have to reassess that position. One thing's for sure, I'm definitely more open to 90's metalcore now than I was when I first checked out the Earth Crisis back catalogue so I can see some of my scoring being bumped up a bit. I'd also suggest that any neck-tattooed, ear-stud wearing metalcore kid worth their salt should have an appreciation for "Firestorm" as one of the fundamental building blocks of the scene they now love so much. Perhaps it's not significant enough to crack my top ten list but it's a thoroughly rewarding & entertaining listen that never over-extends itself & stays right in Earth Crisis' comfort zone for its entire fifteen-minute duration.

For fans of Disembodied, Living Sacrifice & Merauder.