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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.

I really want to hate Earth Crisis. I hate their vegan straight edge attitude, I hate their preachy lyrics even more.

It's not like they have one of greatest albums in the history of extreme music. It's not like they perfectly mix their signatures chugs with a groove metal and doom-esque riffs to create songs that fill me with equal amounts of anger and despair. It's not like Scott Crouse and Dennis Merrick combine for a rhythm master class that makes me want to mosh and burn down my local meat processing plant at the same time. No, it's always gonna be about their lyrics and their cringe social messaging. 

Well, i would say this, if they didn't release this album, which only proves me wrong time and time again.

Fuck Earth Crisis.

I'd never explored a full Merauder release prior to nominating their 1995 debut album "Master Killer" for feature release status last week but there was no doubt about which one I'd have a crack at as the reception for their first-up effort has tended to dwarf the remainder of their back catalogue over the years. My recent investigation of the stronger 1990's metalcore records has reaped quite a bit of reward thus far & the general reputation that "Master KIller" has built for itself saw me feeling a level of confidence & anticipation leading into my first listen & that faith proved to be warranted too because Merauder's piece da resistance proved itself to be worthy of all the hype & acclaim.

The strength of Cro-Mags guitarist Parris Mitchell Mayhew's production job hit me like a tonne of bricks during the first few seconds of "Master Killer" as it certainly doesn't sound like it was recorded almost three decades ago. The weight of the guitars & the clarity of the sound is a major feather in Merauder's cap & allows the material the best possible chance to win over the first-time listener. The riffs & song-writing appear to be very solid too though & after the first song I was left wondering whether I may have stumbled onto one of the more important metalcore releases in my lifetime. Unfortunately, muscular opener "Time Ends" is as good as the album gets though but that's not to say that the remainder of the album is anything to scoff at because that's far from the truth.

Merauder's sound is often tagged as a combination of metalcore, groove metal & New York hardcore but I think that's a little ambitious to be honest. There' really not much doubt that "Master Killer" is a metal release so I don't think the New York hardcore references are all that relevant, despite the clear influence in the crushingly heavy yet inherently simple power chord riffage. The groove metal reference is a little more relevant but it's honestly more to do with the vocals of front man Jorge Merauder than anything musical as he sounds exactly (& I mean EXACTLY) like Pantera legend Phil Anselmo's more violent work on "Far Beyond Driven". Jorge brings the aggression in a major way here & is a major drawcard for Merauder, acting as the ringleader in what amounts to a highly professional & efficient metalcore outing. There's probably more of a thrash metal influence in the instrumentation than there is a groove metal one in all honestly with Slayer riffs popping up quite regularly but the vocals & general structure inevitably draw things back into the metalcore space.

You won't find any duds on this classy debut with the tracklisting being completely blemish-free. The weaker moments tend to occur when the band go for a bouncier/rappier delivery like on "Life is Pain" or where the chorus hook sounds a little clunky like on "Fear of Sin" but neither are without their charms. The previously-mentioned opener "Time Ends" is probably the heaviest of the ten tracks included here & I've quickly fallen in love with its masculinity & power. The title track "Master Killer" is probably my second favourite inclusion & it's not hard to see why it was selected as the focal point of Merauder's sole music video. I also really enjoy the thrashy "Downfall of Christ" which really gets me going but there's a lot to enjoy here.

If "Master Killer" has a weakness then it's probably the lack of sophistication in the riff structures as this is all pretty basic stuff that could be achieved by almost any metalcore band reasonably comofortably. I'm not sure that matters much with this style of music though as it's hardly the point of the punk mentality now, is it? "Master Killer" is all about telling stories of the streets which is very much in line with the essence of the New York hardcore scene & they do it with a enormous amount of success too. There are perhaps more substantial metalcore records out there & I'm not sure that "Master Killer" will quite make it into my top ten or anything but it's a very solid effort nonetheless & I can't see it disappointing too many The Revolution members.

For fans of All Out War, Twitching Tongues & Terror.

I fucking love this album. With the perfect mix of pre-metalcore rebellion and groovy instrumentation, beatdown's aggression and breakdown heavy structure, and just a dash of death metal drumming and vocals, you get this gem of an album.

This is summarized best in the first song "Soaked Torment." After 30 seconds worth of primal chugs and drums that seem to last forever, we are immediately hit with Mike Score's wailing musings of anti-humanism and radical individualism, backed by epic crossover thrash breakdown with a sick double kick drums in between vocal tracks. The song itself transitions from mid tempo groove metal riffs to high energy breakdowns with ease and grace, before ending with a burst of slam-esque guitars for a final surprise.

From here, the album is consistently aggressive all the way through, maintain the energy of the first track with thrash and groove influences switching song by song. Occasionally, the band will try to incorporate some outside influences (such as the doom-esque openings of "For Those Who Were Crucified" and "Into The Flame Of Progress," or the lead in thrash riff of "Enemies of Creations" that sounds like they are trying too hard to sound like mid 80s era Slayer), and there are very minor rap metal influences (such as in "Resist"), but overall the album stays with this groove inspired, brackdown hardcore.

Of course, it isn't prefect by any means. For one, I think as an album, the songs get old quick. Many albums like this, geared for live performances, make up for there repetition with either dynamic themes or a short length. This album has neither Instead, we are stuck with Mike's apocalyptical wails for whar feels ages in Metalcore terms. This leads you to feel tired by the end of it. This isn't helped by the ending song "Apocalyptic Terror," which is almost 10 minutes long, and almost 3 minutes of it is full silence. The other 1 minute is a boring movie sample, and the riffs on the song feel particularly overplayed. Plus, the ending section, though epic, is ruined by the most noticeable inclusion of death metal grunts, and its bad.

Regardless of my grips, I still really love this album. It has everything I love about metalcore rolled into one: rebellious yet aggressive, technically yet emotional, crushing yet melodic, and fast paced yet full of breakdowns. 

Botch’s second and final album carries many of the same strengths and weaknesses as their debut.

To start off, the pros:

- The drumming. Lord, the drumming is fantastic. It’s varied, it’s technical, it’s metallic and aggressive, it’s capable of slowing down for sludgy, moody sections. Perfectly tows the line between serving the music and standing out.

- The songs are long and varied, and cover a greater range of speeds than the debut. More prominent are the slower, sludgier sections, which give the music more room to breath.

- The moments they lean towards Atmospheric Sludge Metal are the best. They manage to craft some harrowing atmospheres that actually carry some weight. The best example is the second half of “C. Thomas Howell as the ‘Soul Man’,” which is definitely their best song. The simple chords and double bass drumming at the end are a perfect climax that actually sounds passionate and memorable. Wish the band did more of this.

However, the cons:

- Like the debut, it’s not very memorable. It has no hooks to speak of, neither in the vocals nor music, and that’s thanks to being very inharmonious. The songs are neat when they’re playing, but once they’re done, it’s very difficult to remember anything from them. (Swimming the Channel averts this, hence being easily their best song.)

- The riffs are angular and dissonant. They don’t really… evoke anything, aside from anxiety. It’s not catchy, but it’s also not evil or anything like that. Just kind of uncomfortable, but not in an emotionally gripping way.

- The songs are long and varied, [i]but[/i]… pretty much just swap between slow anxious, fast anxious, mathy anxious… it’s all somehow monotonous despite the variety in playing style. Like, the band can only play one feeling, which is manic discomfort. Which is cool if you like that, but it’d only work for me if the music and vocals/lyrics were more emotional. This isn’t; it’s very abstract both musically and conceptually, so the focus on anxious moods doesn’t evoke anything from me aside from discomfort.

- The lyrics are too abstract to deride much meaning, which is unacceptable when vocals are screamed in this way. There’s thought, but no passion. The final track is basically ten minutes of them saying the same thing over and over.

- The long Drum n’ Bass track closing the album is the worst track. Weak ending.

For these reasons I find the album good, but not great. I can understand the praise, especially among the genre. But I think this is more niche than the ratings lead on: I think you’d have to be pretty into this kind of music specifically for it to click just right.

Ah, Jeris Johnson... Known for his remixes of popular rock/metal hits "Last Resort" by Papa Roach and "Can You Feel My Heart?" by Bring Me the Horizon. I actually first heard of him from when he collaborated with Plankton AI metal artist BOI WHAT in the song "Battling My Demons". I like his vocal work so much that I decided to check out more of his material, and some of the new singles got me hooked. Those singles would then be part of his new album Dragonborn. I've seen this album get as much hate as Falling in Reverse's new release Popular Monster, which is actually a little more surprising. On the one hand, not everyone is up for a huge diverse cauldron of genres, and they say too many cooks spoil the broth. On the other hand, Jeris Johnson is nowhere near Ronnie Radke levels of infamy, though Johnson has co-written a song for Popular Monster, the country metal single "All My Life". So here's what I have to say about Dragonborn...

Around half of this album is arguably the best work Jeris Johnson has ever done! This is perhaps the first ever album to combine heavy/power/melodic metalcore as main genres, while adding in some alt-metal, Nordic folk, cinematic orchestra, and his earlier trap-core. Yeah, his days of trap-core aren't really strong, but this diverse metal mix of epic and modern can overpower the poor past for a more promising present.

The title track is a nice start. It begins with the acoustic folk strumming of Korpiklaani, then rises into mid-tempo alt-metal not too far off from some of my brother's favorite bands. In the end, the acoustic folk returns, this time with background synth ambience and layered vocals that will definitely plant Skyrim into your mind. "The Story of Our Lives" is a total rocker. Sure there's a bit of the electro-trap in the verses, but it's outshined by the heavy/power metal that makes its entrance in the chorus, along with a brief groove metal breakdown that you might hear from Lamb of God. "When the Darkness Comes" is a spooky track continuing the blend of Avenged Sevenfold-style heavy metal and trap. If you're wondering if that chorus melody sounds familiar, it's that Arabian riff! It also reminds me of Kesha's "Take It Off" which uses the Arabian riff in the chorus as well. "Welcome to Valhalla" is interesting. The Skyrim-esque Nordic folk is combined with trap which is an odd mix that threatens to bring it all down. But then it explodes into an epic blend of power metal and melodic metalcore, "power-core" if you will. Then it ends with the cinematics of Wintersun's Time interludes. Truly a glorious highlight!

"Here's to the Years" continues that epic blend. Last year, Dragoncorpse united deathcore and power metal together. This year, Jeris Johnson showed the world that melodic metalcore, power metal, and Nordic folk can co-exist in that fun tune. More of the epic blend comes in my favorite track here, "Siren Song". You may recognize "Greensleeves" as the main melody, and holy f***, it can definitely compete with August Burns Red's "What Child is This?" cover. Brilliant! "Down with the Dynasty" is the 4th track in a row with the epic blend, this time with some more trap drops. "John" is another alt-rock/metal ballad not too far off from the bands my brother likes such as Breaking Benjamin, Skillet, Three Days Grace, etc. "Not a Person (Freak)" is a trap-metal mess with the closest we have to a deathcore breakdown that comes out as generic.

"Eat Drink War Repeat" is much worse, the weakest track here, making me f***ing cringe over this trap/crunkcore sh*t-fest. It's made up for a lot by "Ode to Metal", more of an ode to modern metal, but still really cool. After starting with a cinematic symphonic intro, we have an alt-metal blend of a Linkin Park-esque rapping verse, a pop punk chorus inspired by A Day To Remember, and a bridge filled with the melodic metalcore of early Avenged Sevenfold and the nu metal of Slipknot, all 4 bands paid lyrical tribute to in said chorus. "Kiss From a Rose" is a nice heavy alt-pop rock take on a Seal classic. "Finish Line" is a beautiful ending ballad of acoustic folk gone 5FDP-style alt-metal.

Dragonborn doesn't reach the perfection of Popular Monster, but it shows how well Jeris Johnson can experiment with different genres to make something diverse. If he makes a follow-up to this, I'm counting on a full-on heavy/power/melodic metalcore album with none of that trap sh*t. Now if only BOI WHAT can make his own full album....

Favorites: "The Story of Our Lives", "Welcome to Valhalla", "Here's to the Years", "Siren Song", "Ode to Metal", "Finish Line"

Damnation A.D. is another early metalcore band, releasing two albums in the 90s, and then disbanding for nearly a decade before reforming for a couple more releases. The lo-fi production is certainly an issue, as is the occasional lean into the industrial-ish alt-metal of Helmet. Both problems have caused many of the tracks to suffer loss in quality.

There are only a couple surviving highlights, with one of them, "No More Dreams" being one of the darkest and heaviest songs I've heard in metalcore. "The Hanged Man" would've been a highlight if not for the painful vocals and lyrics that drag it down into the sh*t abyss. Those fortunately never appear in the 10-minute acoustic cover of Chopin's "Funeral March", which is as great as the Skycamefalling "10.21" instrumental. So I enjoy a couple of the longer tracks. The other songs can be hanged and damned....

Favorites (only songs I like): "No More Dreams", "Funeral March"

I'm enjoying this release, I am new to the band, ""Millenarian'' is the first I hear from them, and I like it so much, I have to listen to all the tracks!

It is straightforward hardcore-metalcore influenced metal,  with  a sound  and structure that keeps you groovin' ,attentive and having a good time.

I like that the vocals are intense, yet not screechy. The raw, crusty guitars are well defined , the overall sound  is smooth with just enough grit.

Anyways, hear for yourself, a sound is worth a million words..

I recommend  ''Millenarium'' as being a  very good to excellent recording, representative of its style, likely to attract a wide range of listeners.

Good stuff, check it out!

I’ve been meaning to get around to checking out San Diego metalcore outfit Unbroken for a long time now. I don’t mind me a bit of 1990’s metalcore on occasion & these guys seem to be known as one of the more prominent examples of that sound so I had a funny feeling that they might be something I’d dig. Their 1993 debut album “Ritual” seems to receive generally positive feedback but it’s Unbroken’s classic 1994 sophomore album “Life. Love. Regret.” that receives the bulk of the attention so let’s see if it warrants the lofty praise that is inevitably heaped upon it then.

 Unlike many of the more widely celebrated metalcore releases, “Life. Love. Regret.” doesn’t try to reinvent the wheel, instead taking a tried & tested direction that lives or dies by its attitude & authenticity. Thankfully though, it has both of those attributes in spades which has no doubt pleased the hardcore purists to no end. The relatively short 35 minute album doesn’t try to be anything that any good hardcore band shouldn't aspire to be. The production job is fairly raw but is still chunky & heavy while the performances are left pretty loose with no attempt having been made to clean up any timing concerns. Those things simply don’t matter all that much when it comes to hardcore music. It’s a more about the visceral urges they inspire in the listener & a general lack of fucks being given.

From a musical point of view, “Life. Love. Regret.” might as well be a guidebook for new players on what 90’s metalcore was all about really. Simple yet crunchy power chord-driven riffs? CHECK! Mosh-worthy breakdowns? CHECK! Angry & aggressive screamed vocals? CHECK! Occasional post-hardcore experimentation? CHECK! In saying that though, there’s an honesty & integrity about this music that places it above the sum of those tick boxes. There’s a purity in Unbroken’s sound that I find to be really easy to buy into. It didn’t quite sink in on first listen but I found myself liking this record more & more with each revisit & that has a lot to do with its consistency as the quality of the song-writing as it rarely dips below the really solid platform that’s set right from the offset with only “Blanket” feeling a little less essential even if it still generally enjoyable.

The two elements that drive this album are its clear points of strength. The riffs are the first of those components with Unbroken seemingly rewriting the manual on metallic hardcore crunch. I can easily imagine how intense this band would have been live because these anger-fuelled guitar parts seem to have been born for mosh pit mayhem. As a guitar nut myself, I found it hard not to buy into Unbroken’s selling point in that regard as I live for the sort of amplifier reverberation they possess in spades, even if the riffs are kinda basic a lot of the time & aren’t exactly performed with precision. The other major highlight can be found in the vocals of front man Dave Claibourn who steers away from that gurgly hardcore tone that I’ve always found to be a little weak by giving himself a little more of a natural sound. It gives his stories of life on the streets some added believability & he does a fantastic job at drawing the listener in through sheer fire & vitriol. In fact, it’s hard to deny that he’s the major calling card for the album overall & I’d suggest that he’d have to one of the more appealing hardcore vocalists out there.

A four-star rating was always on the cards from the first second I pressed play on “Life. Love. Regret.” to be honest as it stays predominantly at that level throughout its nine songs. While “Blanket” may have seen the quality curve dipping just a touch, the biggest talking point for the album comes in the form of a total game-changer that sits right at the end of the tracklisting. The nine-minute epic “Curtain” is nothing short of a devastating, tension-building beast of a track that I’d suggest should rightfully sit amongst the absolute elite examples of the metalcore genre. Its use of repetition & dynamics to draw the listener in from both a physical & cerebral perspective is astounding & I’ve found it hard not to allow my passion for this one piece to dictate my feelings on the holistic package to tell you the truth. I genuinely feel sorry for people that don't have the patience to connect with a piece like this one.

Despite the lengthy classic that dominates the B side though, I still can’t see “Life. Love. Regret.” as a classic release. Essential? Oh definitely, particularly if you’re a die-hard metalcore or hardcore fan. But I don’t think the majority of the album is different enough for it to command the loftier scores in my ratings system. Perhaps I’ve simply come to it a little late in the game but I can’t help but feel that “Life. Love. Regret.” doesn’t really do anything terribly different to a lot of metalcore release. Perhaps Unbroken are the source of all of that in the first place though? I dunno but what I can say is that I’ve rarely heard a better example of this type of music than this record & I can easily see why those metalheads with a stronger affiliation with the metalcore genre than I would tend to gush over it as I’ve been surprised at just how much I've enjoyed the experience.

For fans of Rorschach, Starkweather & Racetraitor.

Moving along with my groove metal clan challenge (just for shits ‘n giggles because most groove metal induces either or with me) and I am trying to get through all the releases that cross into core territory first. There are two reasons for this. Firstly, although I have gotten a little more comfortable with metalcore and deathcore in recent years, they remain my least favoured sub-genres and therefore it would be all too easy to park them at the end of my challenge and give them little attention until I absolutely must. Secondly, such releases are integral to the early noughties’ development of groove metal that it they are impossible to ignore.

My first foray into A Life Once Lost’s 2005 release, Hunter was a successful experience. Byzantines’ offering in the challenge list faired a little less favourably and so it was with some degree of hope that Throwdown’s album from the same year as the above two releases would restore the balance in a more positive direction again.

It didn’t.

The main problem I have with Vendetta is that it is utterly one-dimensional. This is the exact same territory that Hatebreed ruled over for the previous eight years already. Vocals falling over the top themselves alongside racing guitars and d-beat percussion. Rinse, and repeat. Where the groove elements do get space to breathe, they are short lived, and we soon found ourselves in the near robotic and mechanical riffing that sullies most of the tracks on the album. Plus, you must get five tracks into the album to hear pretty much any groove influence at all. Your patience is hardly rewarded.

For an album clearly so full of anger and vitriol the is just a lack of energy to many of the tracks on here, largely because it is the same track structure repeatedly exhausted time after time. This album is apparently considered by some to be a “classic” in terms of The New Wave of American Heavy Metal that was a surging movement at the time. It has not aged all that well clearly, but I doubt I would had been much more enamoured with Vendetta had I been around in that scene some twenty years ago.

The gritty start to this record that is provided by Justica, heralds the promise of a halfway decent groove metal. The solid riffs and lead work that make up the track are combined greatly with the rhythm and vocal sections to create an energetic if not all that remarkable opening. The Pantera influence in the vocals is obvious as are the Lamb of God similarities alongside the rhythmical structures of Meshuggah, albeit that the latter similarity is not as well delivered.

The challenge here comes from the vocals. Despite being a perfectly capable metallic hardcore vocalist, Chris Ojeda insists on interjecting with actual singing, something which he lacks the voice to achieve unfortunately. This is a massive irritation for me and one which detracts greatly from my enjoyment of the record. As the record goes on, I am increasingly convinced that this is a tale of two halves. Instrumentally strong with the vocals letting the side down overall.

These forays into John Bush-style vocals (not a fan of him at all) really do take the wind out of the sails although they do use the more progressive sounding leads to much better effect to temper the more aggressive elements of the record without disrupting the flow as clumsily. With a bit of thought and maybe even a guest vocalist, things could have panned out better on this record for my ears at least. Otherwise, …And They Shall Take Up Serpents is a consistent affair that maintains a level of power for most of the record. Attempting to trace those Meshuggah patterns on the guitar sometimes leads them astray and there is more than one occasion where I am sure they find themselves somewhere in a track unintentionally. Nevertheless, there is enough aptitude in the band to make sections cohesive (vocals aside). In the better moments of the record, we can have some interesting compositions such as Ancestry of the Antichrist, with its tribal undertones stretching the boundaries into more of a world music vibe.

At the same time, I am not sure we need the piano intro to Five Faces of Madness as the track has a vibrancy to it once it gets going that needs to be accessed more immediately. However, the record plays out much stronger than I predicted based on my initial first listen and although I would probably give it a trim if left up to me, I still find this entertaining overall if not more from just a musical perspective as opposed to the whole experience.

You know how much I enjoy metalcore, including its chaotic noise-powered subgenre mathcore, including bands like The Dillinger Escape Plan and Converge. Dissonant guitars grind through complex rhythms and everchanging time signatures in a fast heavy hurricane. Frontierer is another great example of that sound in this 15-track 48-minute journey, twice as long as albums from the more underground bands of the genre. And let me tell you, they've done it quite well.

Frontierer arrived in the mathcore scene shortly after the demise of Tennessee's The Tony Danza Tapdance Extravaganza. I've really enjoyed that band's djenty mathcore sound for the past couple years, and I thought, "What would they sound like if they didn't split up?" Here's the answer! Though the greatness is not entirely the same...

Heading straight to the action is opening track "Bunsen" with tons of noisy distortion in a catchy fashion. Then "Cascading Dialects" just goes on like a huge breakdown, almost threatening to be filler, but there's still some slight variety to keep things up and running. Favorite "The Collapse" is a re-recording of a track from its self-titled EP, and is filled with extreme chaos and devastating riff-wrath. You just gotta hear it to believe it! "Digital Tarpit" is sick as f***, with riffing heavy enough to put even deathcore bands like Whitechapel to shame. "Tunnel Jumper" stands out with melodic guitar in the second half to lighten things up a bit after all that riffing fury. Sure it may turn off some of the heavier mathcore fans, but it's what they gotta expect.

"Helium Vat" has some repetition in the riffing which makes it clear that the album isn't entirely perfect. "Bleak" is another incredible example of mathcore's slash-and-dash chaos. What also works out well is the intermission "IALCCA". While having a more electronic sound, it greatly displays the Converge-like screams of Chad Kapper. An effective way into the next track... Some sections are more layered than others in "Delorean Trails". Then we have another favorite in "Time Disruption Footprint", and HOLY F***ING SH*T, that midsection breakdown if practically heavier than anything I've heard in my life!

"Exposure & Aperture" has powerful riff groove as progressive and deathly as Extol and Into Eternity without actually sounding like those bands. "Evil Dermis" is good but not that memorable. "Mt. Swath" is never a disappointment. The rage from the bass and downtuned guitars can pack some punches even in the lowest mix. "Crystal Turbine" definitely screams TDEP and early Burst in gut-wrenching chaos. The closing track "Dusk" is the ultimate closing epic of chaos that then fades out into ambience.

All in all, Orange Mathematics shall give you some great mathcore entertainment. There's just so much power in a moderately long album length without tapping out. Most fans of music, even metal, would forfeit this chaotic run, but not me! Sh*t-tons of insanity are afoot to take the mathcore scene to the next level....

Favorites: "Bunsen", "The Collapse", "Tunnel Jumper", "Bleak", "Time Disruption Footprint", "Mt. Swath", "Dusk"

The more hardcore side of metalcore was rising back from the grave in the early 2010s, and one of the bands involved in the revival is this Canadian band Counterparts. The emotion can be heard from both the music and the lyrics sung by vocalist Brendan Murphy.

The Difference Between Hell and Home is the right path for them! Counterparts continue the metalcore/hardcore sound developed in the first two albums with a blend of melody and heaviness to put them in a similar level as other cool bands like The Ghost Inside. The lyrical writing focuses on giving people a motivational spark from relatable topics, from love to inner struggles.

"Lost" opens the album with pure lyrical nostalgia, "I feel absolutely nothing, life is a lost cause." The screams by Murphy are in great harmony with the guitar duo of Alex Re and Jesse Doreen. The riff experimentation helps the band stay unique. The lyrical message shall inspire you to battle your demons. "Ghost" takes on one-sided relationships in the lyrics, with music not too far off from Silverstein. "Please don't forget my face, I won't forget to remember you." Picking things up is "Debris" with a lot of heavy riffing. And more of that comes up in "Outlier" with lyrics of isolation, "I am what I am, and I am an outcast." That stellar outro has the best guitar harmony and drum-work here.

The single "Witness" continues the ongoing objective to unite hardcore with metal, with emotional lyrics by their side, "I lost track of all the times I made it home alive." Lots of heavy dissonance from the excellent guitars there! "Decay" is more of an ambient intermission with a spoken poem rising into screaming, all in a similar vein to La Dispute. It leads to the masterpiece highlight "Compass", the best standout in the music and lyrics. "I am a compass, constantly spinning, constantly searching for the end." The drumming and riffing sound so progressive, and the midsection breakdown touches down hard. The outro after a small break from heaviness has some absolutely chilling lyrics, ending with Murphy yelling the album title, "You're the difference between Hell and Home!"

"Wither" follows as actually the weakest track here, though weak doesn't necessarily mean bad, otherwise the album rating would be lower. "Cursed" has more of the best lyrics here, right from the beginning, when Murphy bellows "The facade is something greater than ourselves!" Then we reach a killer two-part finale, starting with the loud fast "Slave", a hardcore song with a ravaging breakdown. The slow heavy ending track "Soil" has more groove-ish riffing with some ambience popping up once in a while. Murphy tells you all to "find your mark and make it" before the final bit of riffing that all fades into an outro of ambient noise.

Counterparts know their way through dark beauty as proven by The Difference Between Hell and Home. This can surely reach the playlists of the more hardcore metalcore fans. Only one or two songs have some slight errors. For everything else, the cohesive emotional writing is what makes them shine. This album might surely be a true definition of the more hardcore metalcore revival!

Favorites: "Ghost", "Outlier", "Witness", "Compass", "Cursed", "Soil"

Technical Deathcore eh? Well that's a genre that I don't see very often. Although a lot of deathcore bands use very technical/brutal death metal trends during their composition cycle as interludes between breakdowns, so this combination is not that uncommon.

Bestiary by Protosequence is an album trying to be about three artists at once. The first is (perhaps the most obvious one) Between the Buried and Me. The rapid style changes on individual songs are reminiscent of early BTBAM (Between the Buried and Me) albums such as The Silent Circus and Alaska. The issue here is that Protosequence are not super committed to the riffs as much of it falls into sounding very similar very quickly. The short passages of reprieve that the album gives you during the intro of "The Caveat" feel more like obligatory rests, which I do appreciate, but provide no value to the remaining material throughout the rest of the song.

The second and third acts Bestiary are replicating are Job For a Cowboy and Imperial Triumphant. Let's start with Imperial Triumphant, because this is in the production. Something about the instrumental timbre of this record just screams Alphaville just without the avant-garde instrumentation and it generally serves the album well when it comes to making the heavy sections sound heavy. The Job for a Cowboy comparison is more in the songwriting itself. These tunes are not as complicated as BTBAM, but their structure is quite similar to an early JFAC (Job for a Cowboy) release; specifically the "Entombment of a Machine" one. The vocals are furious in their delivery and show off a wide range of vocal capability, including pig squeals and gutturals, and the instrumentals can go from relentless death metal riffage to stank face breakdowns without warning. This is not really a style that I relate to very much at all since my attention span continues to get smaller every passing day, and the implication of "riff salad" leaves it half baked and missing that one connecting branch to lock it all together.

Two of these three comparisons look kind of familiar don't you think? BTBAM and JFAC both used to play a very technical, unfiltered kind of death metal, but both have moved on to greener pastures. Bestiary sounds like a record that wants to be placed firmly in the year 2005. That was twenty years ago. Come up with your own ideas.

Best Songs: Sam, The Caveat, Twelve Ropes

Doing this review on reccomendation from user Shadowdoom9. 

Let me begin by saying that this is objectively good music. It's catchy, it has a lot of memorable moments. It fits well on hard rock/metal radio stations. Most people that hear this are going to have a pretty decent time with it. I had a decent time with it myself. This might not be music that I would seek out but it's also music that I wouldn't mind coming on the radio or at a party, and it's probably very good in a live setting as well. I have some critiques, but don't get the idea that this is a bad album. Spin it and it'll be at worst just OK, and you might love it.

For me it's a bit over produced, and a bit over polished. I wish that the bass was a little heavier in the mix, and that the basslines didn't follow the guitar quite so closely. The crash symbol is also plagued by compressed production this is common on early 2000's rock and metal releases but this album is from 2011 and this should've been caught and fixed. The vocals are well done and have their heavy moments but for the most part are a little bit too clean for me. 

The final package hits me like a lighter, more friendly version of Lamb of God. I prefer LoG, but this is a solid offering.

When you order Metallica off WISH.
Holy crap this is bad. 
The production value is horrid. Did they record this on a bread box in a warehouse? 
This should be burned and banished from existence. 

A Life Once Lost posed a real quandary for me as I started my first fresh clan challenge in some months here on MA. As clear exponents of metalcore and djent alongside their groove metal elements (neither of which are my preferred sub-genres by any means) I was pensive to try and see how these all fit together. Clearly influenced by Meshuggah with those palm-muted and chunky riffs obvious alongside the polyrhythms, A Life Once Lost thankfully had enough quality by their third album to make these more convoluted elements sit well together on Hunter. Far from being an alienating experience, I soon found myself very much at ease with what I was listening to.

The groove metal elements are very much in the Lamb of God vein (based on my limited understanding of the groove metal sub-genre overall, this is my main reference point here thus far) and there is an odd sense of comfort in this as I listen through the record. Whilst never out of control as such, Hunter does have a lot going on over eleven tracks and so some familiarity to grab hold of is important for me to get my bearings every now and again. I find the groove elements to be particularly strong in the sense that they hold some real power that does not get muted by anything else. All too often with groove metal I soon find myself at odds with something even if the actual groove of the guitar is as I like. But on Hunter I have no real problem with any of what I hear in the mix. The vocals are scathing, and the rhythm section holds a real presence also, and whilst acknowledging the technical prowess on show, never does any of the drumming feel too complex for complex’s sake.

The success (for me at least) of the groove elements are largely down to how well they are allowed to breathe, with the metallic hardcore elements being clear but not oppressive enough to detract from my enjoyment of the album. In fact, whether conscious or not, A Life Once Lost manage to arrange the influences and elements of their songs with a degree of professionalism overall. It might be chaotic, but it is an organised chaos regardless. The groove metal appears to almost explode out of the aether at times without becoming a disruptive influence and as such A Life Once Lost show a talent for making the ugliness that is inherent in their aggressive and spewing style of music entertaining.

Possessing a real sense of having an engine at the core of what they were doing on this record, A Life Once Lost give a good acquittal of themselves here. I won’t pretend to love all the record though and for all my positives around the clarity of the record there is still a sense of things needing an esoteric ear to truly fathom the whole record which I do not always have the patience to lend, certainly on repeated listens/visits. However, for a record that presented me with some sense of being daunted by Hunter is a triumph over that slightly narrow-minded expectation I had set at least.

Times of Grace was formed in 2007 by Killswitch Engage guitarist Adam Dutkiewicz when back problems caused him to go for emergency surgery. Helping him out in this side-project is then-former KSE vocalist Jesse Leach. After their 2011 debut The Hymn of a Broken Man, the band was put on hold when the powerful well-praised Howard Jones left KSE and Leach returned to take his place. But that didn't mean Times of Grace was completely finished. Since 2016, Dutkiewicz and Leach spent some of their time outside of KSE writing and recording the next Times of Grace album Songs of Loss and Separation, with a final finishing boost when COVID put touring to a global halt. The end result is a strong collection of songs with a decent load of crushing riff-fire and emotional lyrics, despite the music moving away from Gothenburg. Pure greatness!

Well, despite some metal in here, you can't expect everything to be, well, metal. There's barely any of the violent rage from heavier metal genres. What we have is something more spiritual, more rock-ish, more, dare I say, radio-friendly. Anyone with a negative view on metal can give this album a spin and, with the best of luck, end up changing that negative to a positive. Imagine taking the more melodic side of the second Killswitch Engage album Alive or Just Breathing and expanding on that. The more soothing while still heavy music and positive lyrics will make those people think twice before putting down metal as a whole.

In saying that though, I have to question what the band were doing with "The Burden of Belief". Nonetheless, it's beautiful and filled with lyrical faith. It's "Mend You" that really gives us the sound we need, a d*mn perfect rocker with optimistic vocals and harmonic nostalgia for both heavier metalheads and rock listeners. And no matter how radio-friendly it gets, I still love it. A more b*lls-out Breaking Benjamin, you might say. But they don't wimp out on their metal tendencies with the riff-tastic "Rescue".

"Far From Heavenless" has some Opeth-like prog, as Leach's lyrics help burn away any hate brought down onto religion. "Bleed Me" is mostly acoustic, but when the electric guitar pours in, it has a similar vibe to the slower more melodic Trivium songs. Once again turning into a bit of prog-metal is "Medusa".

Just hearing a bit of "Currents" can get you thinking of the band Currents and Fates Warning at the same time. Then "To Carry the Weight" is pretty much a modern-day response to Soundgarden. Now for a song titled "Cold", there's really a lot of gentle warmth. The 6 and a half minute closing track "Forever" ends the album beautifully to satisfy any listener and giving them something to look for in the future.

So what's not to f***ing love about this album? Songs of Loss and Separation continues what made this band and Killswitch Engage great, albeit exchanging most of their metalcore with something more pop-rock-ish in a way that is never sh*tty. And even in some of their radio-friendly moments, they can still sound metal as f***!

Favorites: "Mend You", "Rescue", "Bleed Me", "Currents", "Forever"

Mind-blowingly intense, brutal, technical, and really fuckin' fun. Those are the best adjectives I could come up with, and they don't even begin to do justice to the contents of this album. You need to put like a X100 multiplier between each of those words and even then you're still not doing it justice. I am not super familiar with deathcore and it's timeline-this album is a little outside of my usual wheel house, but I can tell you that I've been more open to the "core" subgenres because of how this album changed my view it. I think Cattle Decapitation's -Monolith of Inhumanity falls under the same category. If not that's my ignorance on display. 

With that in mind you are probably better served to take queues from other reviewers who are more specialized in that category. However, what I can tell is that this thing is a masterpiece, and that you need to hear it. Ideally you want to hear it with a good speaker system that can carry low end, because there are some extremely deep bass sounds (808 drops?) on this album that a phone/laptop/or standard car stereo are not going to do justice too. It's still great without them but I really get a kick out of that sort of thing.

If you can point me in the "more like this" direction or help me understand deathcore and other types of core music I'm a ready and willing student. Hit the DMs or comment below-I read everything and respond to most things.

PS. BRIEEE   BRIEEEE   BRIEEEEEEEEEEEEE 

Before gradually evolving into a progressive tech-death band, Job for a Cowboy released a deathcore classic that was an early result of the subgenre's popularity. Any fan of deathcore can recognize their EP Doom as a brutal masterpiece!

As much as the other band members perform well in the EP, the heavy complex drumming by Elliot Sellers really stands out side-by-side with the guitars. Different variations of blasts and kicks can be heard, and like snowflakes, one is never the same as the other, which is what makes the drumming so unique. That and the use of cymbals, all of which give deathcore some rare literal kicks.

The intro "Catharsis for the Buried" starts the release eerily as someone is getting buried alive and screams "GET ME OUT OF HERE!!!!" Then comes my favorite track here, "Entombment of a Machine", with some riffing and breakdowns I really enjoy, including that final devastating one at the end. The song also has rare audibility in bass and common usage of horror imagery in the lyrics. "Relinquished" is also interesting with the intro riffing and the song's brief usage of lo-fi and funk-ish beats in the drumming. "Knee Deep" you might already know from that Spongebob "Band Geeks" meme video. I just love its opening riffing!

"The Rising Tide" has some breakdown riffing throwing back to earlier tracks, but it's still killer, especially in another brutal closing breakdown. The growls and screams of Jonathan Davy fit so well with the lyrics. Starting off with a bit of melodeath is "Suspended by the Throat" before more of the heavy darkness. You don't wanna miss out on the re-release bonus track "Entities". Recorded a year after the original EP, you can hear some riffs hinting at the band's later tech-death sound, as well as a rare guitar solo.

Doom is filled with awesome pulverizing deathcore. Fans of the genre should definitely get it and listen to it as many times as they please. I'm glad to discovering this true gem and I look forward to hearing their later tech-death. Only the strongest and most loyal to deathcore can survive!

Favorites: "Entombment of a Machine", "Knee Deep", "The Rising Tide", "Entities"

Knocked Loose are the sort of beatdown hardcore band that I will inevitably show some hostility to on the outset. They gained quick popularity near the end of the 2010s, especially with the release of 2019’s A Different Shade of Blue. It was a good display of aggression, but in terms of execution, Knock Loose were certainly in the learning phases.

Now maybe that’s me being too demanding in hopes that Knocked Loose will provide me with something beyond “ARF ARF” and down tuned breakdowns to bang your head into a brick wall. This is beatdown hardcore after all. I will say though that seeing You Won’t Go Before You’re Supposed To clocking in at just under half-an-hour gave me some intrigue. After all, some of my favourite “true hardcore” albums are of the short-and-sweet variety. And since I’m not allowed to leave until I’m supposed to (this review is finished,) I might as well provide some insight.

I think that heavy metal, more than any other genre, needs to give its listeners a chance to breathe. It’s already characterized by guitar distortion, drummers slamming the kit with the force of a thousand hammers, and abrasive vocals. But when an entire record is nothing but this, it can make for an unfulfilling experience. If a record uses dynamics well, it will allow these breakdowns of force to hit with even greater authority. With You Won’t Go Before You’re Supposed To, Knocked Loose have one dynamic only and it’s alarming.

What this means is the intensity is great near the start, but by the end of the record, the listener is drained and could not imagine going to the start and doing it all over again. No one believes that this narrator is this angry all the time.

Speaking of the narrator, Bryan Garris’ vocals are painfully lacking. Like with the instrumentals, Garris screams in a monotonous timbre throughout the entire album with no deviation. The albums two best tracks (“Suffocate” and “Slaughterhouse 2”) were the ones that featured an additional vocalist to run counterpoint to Garris. The change in timbre gave those songs a little more variety and made them more memorable than the songs without guest features.

And as for the mixing, Knocked Loose are still in the infancy stage almost five years between albums. Loud equals good is not a selling point. There is so much unchecked clipping in the guitars that it started to become uncomfortable after a while. It turned into an unwinnable battle between me and the volume controls.

And what of the songs themselves? For an album that prides itself on being a relentless assault of noise from the word go, it doesn’t really say much. Riffs might be scattered and quickly switch between punk grooves and metalcore breakdowns, but they are almost always hovering around the same tempos. And Knocked Loose are also not going to let you remember any of these riffs either, because as soon as one starts to become earworm-y, it’s on to the next breakdown and more sporadic neck pain. Will we ever hear that leit motif again? Probably not, but if you want to hear it again, why not try listening to the album from the top? I think I’ll pass for now.

Knocked Loose are well outside of my comfort zone when it comes to metalcore. And I’m aware that most of my criticisms of You Won’t Go Before You’re Supposed To might be what some Knocked Loose enjoyers want to hear, and I think that’s great. These songs would be ridiculous in a live setting. However, if you want a little bit more substance in your metalcore, I suggest looking anywhere else.

Best Songs: Suffocate, Slaughterhouse 2

New Jersey metalcore outfit Rorschach have been on my radar to check out for quite some time now. I'd heard a few of their tracks while I was still programming the monthly The Revolution playlists & had always found their sound fairly attractive but I guess I'm not generally one to go chasing too much in the way of metalcore. The task of selecting every second The Revolution feature release has finally seen me investigating Rorschach though & I'm very glad I did because I've found them to be a class act that's deserving of the hype they inevitably seem to draw.

"Protestant" was clearly produced by a very competent group of musicians who knew what they were doing & had a clear sound in mind. Like a lot of the early metalcore releases, it sits heavily on the hardcore punk side of the metalcore equation but utilizes the best elements of that genre in conjunction with metal influences to great effect. The level of musicianship is exceptional for a bunch of rebellious punks to be honest with the arrangement & composition being very mature & showcasing a lot in the way of technique. I'm not the biggest fan of Charles Maggio's vocals as they tend to err on the generic, screamy side of the metalcore spectrum but they're certainly not a deal breaker by any means. It's the guitar work of Keith Huckins (Deadguy/Kiss It Goodbye) & Nick Forté (Raspberry Bulbs) that's the real attraction here though, particularly when they explore more atmospheric, arpeggiated or chaotic realms.

Another strength is that there are no weak tracks included amongst the thirteen included on "Protestant". It begins in very solid fashion & tends to maintain that level for most of the tracklisting. There's only really the one track that I'd suggest is capable of competing at the top tier of the metalcore hierarchy though in the classic "Blinders". The references to the mathcore subgenre are a little bit of a stretch though to tell you the truth. Yes, this material was fairly sophisticated for the time but I'm not sure I would ever tag it as chaotic, hectic or spasmodic. It's perhaps just a touch more progressive than you would usually expect from the hardcore scene which is intended as a compliment in this context.

"Protestant" is a very strong record overall & is definitely the sort of metalcore record I find myself attracted to. It doesn't rely on production or gimmicks to draw the listeners attention, instead focusing on strong song-writing & punk rock energy to perform the task & it works a treat. In fact, I've gone so far as to include "Protestant" in my newly revised Top Ten Metalcore Releases of All Time list which is really saying something given that it's not generally a genre of choice for me. I can tell a good record when I hear one though & "Protestant" fits the bill nicely.

From First to Last is a band with a few members that have been part of more well-known projects. Rhythm guitarist/unclean vocalist Travis Richter left the band to join The Human Abstract but came back when that band went on hiatus and From First to Last ended theirs. For this album Dead Trees, the band brought in Spencer Sotelo as lead vocalist, a position held on to for the band's first two albums by Sonny Moore, A.K.A. dubstep superstar Skrillex.

Dead Trees brings back the earlier post-hardcore sound, this time heavier and getting close to djent. That and the more melodic aspects gives the album a melodic metalcore direction. Spencer's well-done vocals are a perfect fit here, and I enjoy them as greatly as his work with Periphery...

"Heresy" is a mysterious one-minute intro with its epic orchestral synths sounding almost like they're leftover from a Powerwolf album. Then you get hit by two minutes of killer metallic hardcore "Straight to the Face". The theatrical heaviness continues in "H8 Meh". Then we have one of two singles in the title track, and it's a perfect metallic throwback to the mid-2000s post-hardcore scene embraced by From First to Last and other similar bands.

"I Solemnly Swear That I Am Up to No Good" really takes on the theatrical antics of Ice Nine Kills while Spencer expands his vocal range as much as he had in Periphery's Juggernaut series from that year. "Black and White" is worth listening to as the band fire away with their blend of heaviness and melody. "Back to Hannalei" is a softer ballad, not too far off from the softer tracks of Bring Me the Horizon at that time. "Never in Reverie" exemplifies the more metallic side that reminds me of Bullet for My Valentine and Oh Sleeper, and that I'm definitely up for.

That heavier side continues once again in "2 11". Then "Electrified" has the catchy dance-y pace of Electric Callboy but none of that band's trance-y synths. "I Don’t Wanna Live in the Real World" is another acoustic ballad to wrap up this offering. For the earlier fans, the bonus re-recordings are a successful treat altogether, "Note to Self", "Ride the Wings of Pestilence", and "The Latest Plague". OK, the third one is not as awesome the previous two, but they all still work well.

Dead Trees is the comeback album From First to Last fans need! Well, a couple tracks I don't totally need, but the rest is still great. And as amazing as Spencer sounds there, let's hope the band can make another album in the future with more of Sonny Moore's vocals....

Favorites: "Straight to the Face", "Dead Trees", "I Solemnly Swear That I Am Up to No Good", "Black and White", "Never in Reverie", "Note to Self", "Ride the Wings of Pestilence"

OK, nobody liked the Avenged Sevenfold debut album, and neither did I.  They say this one's pretty good for the fans, though, so I've got big hopes for this.  Finally getting around to these guys, I'm eagerly awaiting the moment I get to turn on City of Evil for the first time, but I don't want to do that until I get a really good idea of how the band evolved within the first three albums.

Like the first album, this starts out with a decent intro which gets up right into the darker vibes the band is going for.  Unholy Confessions felt dull, under-produced and dreary in its tropes.  It pains me that it became a music video.  But I found that Chapter Four was much more packed, keeping a consistent melodic vibe with its overlapping vocals and slight Gothic touch, and even had a lead riff vaguely reminiscent of the energy of my favorite franchise to compare metal songs to: F-Zero.  There's definitely a poppier thing going on here, but that's an improvement from the chaos of the debut album.  This definitely deserved to be the lead single for this album.  Remenissions starts out with the unspoken combo that I call "powercore," a genre I would totally kickstart if I were in a metal band.  Unfortunately, this is where it becomes clear that the band is steering too close to the "similar tempos" trope that many genres fall victim to.  I wasn't expecting the Latin acoustic segment, though.  Weirdly added, but somehow nice.  Desecration Through Reverence shows a bit more focus on mood-building and justifies the existence of the shifting tropes in a single song in the follow-up to their debut.  It feels so much more natural than everything the debut features.

I didn't expect many differences out of Side B, but I was hoping.  Turns out, my hopes were satisfied even for a little while.  As soon as this slower, alternative metalcore album with a deeper emotional vibe ends, the album steers RIGHT INTO POWER METAL like it was nothing.  This side ends with a basic combination of the temp tricks of the last two songs, and I can't really say this decision does anything for the album.  Despite the progressive nature and melodic prowess, it's a filler song.  Radiant Eclipse is slower, more alternative and rooted in traditional metal ballad behavior while maintaining the signature edge.  This six minute track really was a breath of fresh air that, unlike the pop rock track in the debut, Warmness of the Soul, which felt like a relief of fresh air from the crappy metalcore, is a perfectly fitting alternative song that completely continues the darker vibes of the album while building on previously established influences on this album to become its own thing.  Next was I Won't See You Tonight, Pt. 1.  One look at the length and I thought to myself, "What kind of song on a metalcore album like this lasts nine minutes!?"  My first thought was a fairly proggy ballad which probably builds on the gothic elements suggested by the secondary genre tag on this album's RYM page.  It gained a very slight heaviness from its standard ballad energy at the start, but it lasts that way throughout the whole nine minutes, so I only got about two thirds of it right.  It's really just an overlong ballad.

So now that that was over with, right back into the screechy metalcore like it's not a jarring difference.  This is Part 2.  They could've at least built into the conflict rather than making it instantaneous.  And of course, this song goes right into djenty weirdness to add another trope to the mix... although, this is the first song in this overlong album to do so, so I'm not too bothered by the trope.  Ironically, Clairvoyant Disease goes right back into alternative ballad territory, once again creating a jarring effect on the flow.  And finally, there's And All Things will End, which starts off with a riff similar to many Iced Earth songs, vaguely reminiscing thrash and power, but feeling right for the album here.  It's got much of the same drama as well, but the melodies are only decent and it doesn't hold a candle to any Iced Earth classics.

OK, I'm not gonna call this one of my favorite metalcore albums, but I'd say this album made AVS an easy band to LIKE, as opposed to an easy band to LOVE.  Their songs are poppy enough, maybe too poppy for metalcore and never displaying high points of creativity, but they try as much as they can with the genre they chose for themselves at the time and managed to keep things fairly entertaining with some sense of variety and a much better sense of emotion.

I've been putting off these guys for forever and I don't know why.  Maybe it's because I'm not really into alternative metal or related genres like multiple.  Now I've always liked Bat Country ever since I heard it on SSX On Tour for Gamecube, and it was one of many songs I kept on the custom playlist with classics like Stand Up and Shout by Dio, Dynamite by Scorpions and Run to the Hills by Iron Maiden.  There were others, but I quickly associated myself with the song.

I understand that the band is a very flavorful one, and has reinvented themselves multiple times, even after just one or two albums.  As an Arctic Monkeys and Led Zeppelin fan, I have absolutely no problem with this.  In fact, from what I understand, these guys are supposed to have sucked as a metalcore band, so in my curiosity I'll likely get through all of their albums soon.  But despite the fact that I've put them off for far too long (Bilbo Baggins, 2001), the biggest reason I'm checking them out right now is so I can have an opinion on them.  This was likely influenced not only by my recent curiosity pertaining to their other songs and the knowledge of their diverse history, but out of a Reddit conversation involving the qualifications of a metal band on Metallum.  So I'm gonna check them out from the start.

The somewhat symphonic and cinematic intro is nice, but as soon as these guys dig right into the metalcore, they lose all sense of atmospheric building, and stem into a random and yet surprisingly predictable and tropy metalcore band.  I really did NOT like "Turn the Other Way."  Its lack of organization was so amateurish that it might as well have stemmed from a poorly-recorded black metal pre-debut album garage demo.  There are only slight improvements over the next two songs, with a welcome edition of the Bad Religion-style melodic skate sound making its way into a little bit of The Art of Subconscious Illusion with the unpredictability feeling a little more organized, almost like a metalcore variant of NoMeansNo, not that they hold a candle to NoMeansNo, who are probably the greatest hardcore band on Earth.  It even gets pretty creepy near the end, which I have to appreciate for a band who just named themselves Avenged Sevenfold at the time.  But immediately after, the album gets samey, and the tropes just take turns with no direction other than to display the popular tropes, which means the real reason the last track worked was simply because it was a better variant of an otherwise chaotic mess all restricting itself into one genre.

It gets to the point where the piano rock song Warmness of the Soul is a breath of fresh air as opposed to a sore thumb situation because its simple and catchy sound is like a pillow in comparison to the tiring metalcore tropes.  And the album practically stays that way until we get their attempt at a Stairway to Heaven of their own with it going into softer melodic territory before going back into edgy metalcore tropes.  This means that the album only proves that Avenged Sevenfold had not grapsed creativity yet and tried to take an easy way into metal fame.  Obviously, it didn't work out yet.

The Ghost Inside have had one h*ll of a journey, complete with obstacles to beat and of course, solace to search for. They already made it to album #6, with themes ranging from anthemic motivation to COVID-induced isolation, all in Searching for Solace!

It's often difficult to follow up the perfection of one album, let alone two albums. Searching for Solace comes close to continuing the glory of Dear Youth and their self-titled fifth album. Getting over the trauma of their 2015 bus crash may be challenging, but the emotion spawned from there is let out in their songs for great enhancement. And they have different roads to take in a smooth breeze.

Opening track "Going Under" is a reflective tune with powerful metalcore momentum. "Death Grip" is a crushing track suitable for the mosh-pit, especially in the chorus, "Don’t need a life line, I've got a death grip!" Then we have the broader "Light Years". That song and "Secret" have the downtuned guitars and background synths of Parkway Drive.

"Split" is one of the heaviest and most hardcore tracks the band has done to date. I mean, listen to Architects, Hatebreed, or Knocked Loose, and you might find a lot that song has in common with any of those bands. Things get more accessible in the clean "Wash It Away" with catchy singalong choruses. "Cityscapes" is the most ballad-like song the band has ever done. It is dedicated to vocalist Jonathan Vigil's father who passed away while the band was in Australia during the Get What You Give tour. I'm not into a lot of ballads, but that one is truly moving. "Earn It" has more of the mid-tempo metalcore heaviness of Hatebreed and Upon a Burning Body.

The earlier heavy machinery is brought up again in "Wrath". Same with "Reckoning", which is fine, but it seems like they're trying too hard to look back at their past sound. But hey, they can just be themselves. Finally, we have the superb "Breathless". Just listen to the music and lyrics and let them guide you through. "These days are numbered, so keep on screaming until our hearts break."

For two decades, The Ghost Inside are determined to reign in the modern metalcore scene. Searching for Solace is another solid entry to their catalog. The band will make that their story ain't over and we will have more to look forward to in the future. We have their word!

Favorites: "Going Under", "Secret", "Split", "Cityscapes", "Earn It", "Breathless"

Almost 4 years after The Ghost Inside's horrific tour bus crash, the band made their return from the void with a comeback show on July 13, 2019. The concert was recorded for this live album that was released two years later in 2021, with a physical release another 6 months after. Now let's witness the phoenix rise!

The audience knows a lot of the band's lyrics and are there to accompany vocalist Jonathan Vigil as the band perform, and right from the "Intro", they're already fully prepared and anticipating a fantastic show coming up as they chant "TGI! TGI! TGI! TGI!..." Then Vigil enters the stage and greets "Good evening, everyone", and starts a speech thanking the crowd and introducing the band members before concluding, "Now the phoenix begins its rise."

"Avalanche" has some of the most blazing fire in modern metalcore, already showing that its original album Dear Youth is a solid step up from Get What You Give, and the band would stay in that path for their self-titled comeback album. Then "Unspoken" has well-done gang vocals. "The Great Unknown" is another hard-hitter with driving instrumentation. Only the strong will survive! "Dear Youth (Day 52)" is a mega mood-fitting song for me to love, with some similarities to Crystal Lake, especially the vocals. From the 2-and-a-half-minute-mark onward is an epic breakdown until the end.

The melodic yet drilling riffing of "Out of Control" fits well with more of those inspirational lyrics for the defiant hardcore kids. It segues to the kick-A crusher "Outlive" in which Jonathan Vigil's vicious yells travel alongside the riffing and drumming. Its original album marked the entrance of their current drummer Andrew Tkaczyk, formerly of For the Fallen Dreams. His intense drumming talent really stands out in that track and the more melodic ones later on, even after losing his leg. "Greater Distance" unleashes more aggression. It's all good until the generic breakdown midway through. Although I like breakdowns as much as the next metalcore fan, there's not much different variation, and it ends up breaking the momentum. As for "Between the Lines", I love those brilliant lyrics in that highlight. "Where have the words gone?!" Then "Phoenix Flame" takes the atmospheric direction much further as the band's first ever slow string-filled metalcore ballad. Still we have defiant lines like "It’s a long fall from the top, can you stand it?"

There's more melodic guitarwork in "Thirty Three", though a bit tiring at this point. "Mercy" is an intense highlight paying homage to Metallica's "For Whom the Bell Tolls" in both the atmospheric bell intro and Vigil's subsequent bellow of "FOR WHOM THE BELL TOLLS!!!" Then "Shiner" breaks through the hardcore fire of Comeback Kid with a more metallic spin. "Dark Horse" has awesome cleans and the best chorus here. To be honest, that's what was missing from the band's first two albums that could've made them successful. Those cleans have improved the formula with more variation. Although I enjoy many metalcore albums with only unclean vocals. You gotta thank producer Jeremy McKinnon (frontman of A Day to Remember) for giving The Ghost Inside that clean aspect. "The Other Half" once again has a unique mix of heaviness and ambience.

A lot of what they should've had in their debut is in the next one "Chrono" which I enjoy. "Move Me" continues the scream-along lyrics with a more philosophical theme. The melodic guitarwork continues in "White Light". Then "Faith or Forgiveness" is a memorable highlight and probably the best moment of their comeback show. "Engine 45" almost surpasses that, ending the show as the kind of song you need for any crisis you struggle with. This band is clearly having more fame and glory now. Let us have the bravery to choose our actions, break these chains, and keep swinging!

So to summarize this amazing live experience, most of the songs chosen for the setlist in Rise From the Ashes: Live at the Shrine are some of the best highlights from their first 4 albums. There are really only a couple duds, pretty much all the other songs are golden inspirational anthems. The band really knew how to make their return in full-on modern metalcore grace. Rise From the Ashes is for anyone wanting to hear The Ghost Inside for the first time!

Favorites (two per studio album): "Avalanche", "Dear Youth (Day 52)", "Between the Lines", "Shiner", "Dark Horse", "Chrono", "Faith or Forgiveness", "Engine 45"

I really wanted to enjoy the newest album from Eidola, since it has a lot of the new metalcore trends that I typically enjoy: great beauty/beast vocal dichotomy, production that does not sound like a brick, progressive focus on the instrumentals, and breakdowns that are anything other than fruitless.

It's too bad that Eviscerate suffers in much the same way as all previous Eidola albums. While the album starts off very solid and executes all of these elements mention previously very well, Eidola run out of steam around "Fistful of Hornets" and start making some very safe, unoriginal metalcore. I feel like I was supposed to be impressed by "Golgotha Compendium: Fifth Temple" with it's extended runtime and dynamic usage, but they forgot to include the ear infecting hook to push it over the edge into a progressive metalcore masterpiece.

That said, I do not think this records back half is bad from a structure standpoint. I think the mixing is great and highlights all of the important elements that make the first half as good as it was. I would imagine those looking for a more straightforward or transition point into the world of progressive metalcore would not mind this drop off in quality as much. But for me, Eviscerate kind of transforms into a big letdown.

I stumbled over the debut album from Texas' Embodyment around 15 years ago while desperately trying to catch up on all of the great death metal releases I'd missed out on during my self-imposed, decade-long hiatus from the metal scene. "Embrace The Eternal" was reasonably well thought of in death metal circles at the time but Embodyment's remaining back catalogue seemed to be frowned upon for reasons I was unaware of so I went into the album with an open mind. I was also unaware of the links with Christianity & the early deathcore scene that now permeate the release & I honestly don't recall thinking I'd discovered the building blocks of a new genre with that experience either so this month's feature release nomination represents a good chance to reassess that position, particularly given the strong statements from our resident The Revolution devotee Andi.

"Embrace The Eternal" is a well-produced & executed record from a band that were already well in control of their chosen instruments. In fact, they can occasionally be guilty of being a little TOO precise to be honest as the weaker moments on the album do tend to sound like they're in autopilot & lacking a bit of electricity. The clinical production is led by a particularly clicky kick-drum so if that element is something you usually struggle with then I'd perhaps give this release a wide birth. In saying that though, current Living Sacrifice drummer Mark Garza is arguably the highlight of the record with his super-precise performance giving Embodyment a particularly solid platform to work off. I mean, clicky kick drums can be very unforgiving at times but here we see Garza pulling everything off effortlessly. Front man Kris McCaddon's contribution isn't your average deep death metal or deathcore growl though. Instead, we see him sporting a screamier approach that sits right at the mid-point between Carcass' Jeff Walker & the classic metalcore delivery. He tends to be a bit of a one-trick pony on the evidence here too as he really does stick to the one thing the whole way through the album's duration.

Now for the elephant in the room... Despite "Embrace The Eternal" being claimed as one of the founding releases for the deathcore genre, I have to question that consensus. You see, there is nothing terribly unusual or original here from an instrumental point of view. This is purely a death metal record from that perspective with Suffocation being the primary source of inspiration. As someone that absolutely worshipped (& at times sought to emulate) that wonderful band, it's really obvious that Embodyment were also bowing down at the altar of "Effigy of the Forgotten", even if they do tend to shy away from Suffocation's more technical side & aren't nearly as brutal. The regular use of breakdowns is certainly worth mentioning but they don't seem to be drawn from the hardcore scene as far as I can tell, instead being borrowed from the early slam death metal one. Unlike Suffocation though, Embodyment's death metal sound has as much to do with your classic old-school death metal model as it does with the brutal death metal one & you should be able to pick up the influence of bands like Morbid Angel at times too. Then during the second half of the album we start to see some more diverse influences seeping in with the odd Fear Factory groove or jumpy Korn-style nu metal section appearing. While that idea might not sound all that appealing on paper, Embodyment seem to have the class to pull it off nonetheless. It's really just the vocals that draw upon hardcore for inspiration though as the instrumentation can basically be summarized under the death metal banner &, even then, McCaddon's tone isn't even close to the super-gutteral, ultra-deep death growl employed by most deathcore front men these days. Therefore, I struggle to see how "Embrace The Eternal" is a seminal deathcore release to be honest. If it's just the vocals that draw it into that space then Carcass' "Heartwork" would surely suffer the same fate & that idea certainly isn't on the table.

With that said, "Embrace The Eternal" is a very solid extreme metal album in its own right with no weak tracks included. There's a clear consistency to the ten songs & the Christian lyrical content will have absolutely no impact on you unless you go out of your way to investigate what McCaddon is going on about. I personally choose not to & are much better off for it given my strong feelings about organised religion in general. I'd recommend that our The Horde members leave any preconceived notions at the door & give "Embrace The Eternal" a chance to win them over because it's really a very solid first-up effort & one that will have you pondering over how Embodyment's next record could possibly fall into the realm of our The Gateway clan.

Surprisingly good and catchy mathcore from a band that I had no expectations for going in. It is very much derived from the Frontierer and Car Bomb school of mathcore with insanely loud soundscapes and very little room for the listener to breathe. However, Weston Super Maim do give their listeners just that little bit more space compared to their contemporaries. The album manages to sneak in some very subtle yet catchy melodic hooks throughout the record and they help to exemplify the heavy, bone shaking breakdowns.

Best Songs: Slow Hell, Johnny Menomic, Kryptonite Renegade 

Deathcore and I are not the most comfortable of bedfellows, I could count the number of the sub-genre's albums I have heard on the fingers of one hand and I have actually enjoyed even less than that. So I went into Dark Secrets of the Soul expecting little and knowing the sum total of fuck all about the band. Turns out they are an italian, corpse-paint wearing, four-piece and Dark Secrets of the Soul is their sophomore full-length, following 2021's Sulphur Cvlt.

Well, I will just kill off any suspense and say it straight out up front - actually this isn't half bad at all. I know, right. What the hell is up with me? Well it appears that I might actually be a secret deathcore fan and I didn't even know it myself! I think where deathcore wins over other core-related subgenres is within the vocal department, which is where I notoriously struggle when faced with conventional metalcore releases. I don't especially dislike metalcore instrumentally, but the vocals often irritate me intensely, so the inherently more grizzled and guttural vocal requirements of a death metal sub-genre tones down the "screechiness" (for want of a better word) I struggle with so much in metalcore and results in something much more palatable to my ears. Another trick the band have up their sleeves is that they have included a perceptible influence from symphonic black metal, with synths imparting a sense of pomp and circumstance and mitigating some of the harsher elements of the metalcore aspect of the band's sound. Eclipse of the Sun of Eden, for example, has a really noticeable black metal influence from bands like Anorexia Nervosa or Dimmu Borgir that complements their deathly metalcore sound so well.

The band aren't afraid to change gear away from metalcore aggressiveness either with the balladic Lotus, which features the album's best guitar solo, sounding like the second part of Slipknot's "Vermilion" in places including the clean vocals. I'm no expert, but I reckon that despite all these variations from standard deathcore, there is still more than enough of that melodic hyper-aggression present to please the regulars whilst the other influences help to differentiate Drown in Sulphur from the pack and may even draw in newer listeners to the genre, like myself. I like the fact that italian metal bands in general are unafraid to take chances with their music and, for me, in this case, it has paid off big time.

Bad Omens is not your average alt-metalcore band. They've made it big with their sound, especially in their latest album The Death of Peace of Mind that had one of its singles launched into popularity by TikTok. The band would also collaborate with pop star Poppy for an industrial metal track featuring only her vocals. But before we get to their new famous era, we have to start in the beginning with their 2016 debut...

The earliest hype around the band came from the pre-release singles. Some say they were inspired by Sempiternal-era Bring Me the Horizon, others say they're a straight-up copy. But no matter what they say, this album is still a great start to their career.

"Glass Houses" begins it all in a heavy bang. They can make a catchy chorus without causing the pop to pop up. Sure the style and lyrics are similar to Bring Me the Horizon but they're able to not cause any cringe and instead add slight improvement. "Exit Wounds" is another great metalcore track, and I'm sure other fans of the style would agree. You can start to hear the band's melodic side in "The Worst in Me". Now "FERAL" has potential to be in a soundtrack for a movie similar to Queen of the Damned.

Soft melancholic moments can be heard in the relaxed "Enough, Enough Now". Then "Malice" has faster speed and unclean vocals, with occasional piano leftover from the previous track. Whitechapel/Periphery influences can be found in "Hedonist". This release would've been better without "Broken Youth" which is more of a filler than a banger.

"Crawl" tones down everything into something soft enough to end up in a Studio Ghibli film soundtrack. It's still a beautiful highlight though. "The Letdown" attempts to sound like an anthem, but becomes more of an emo letdown. "Reprise (The Sound of the End)" has the usual metalcore heaviness, but it fails to stand out well. The finale "The Fountain" may not be metallic, but it's strong clean anthem with tribal drums and flutes. It ends the journey with ethereal diversity, an anthemic hit to live on forevermore...

H*ll, if any new band can make a solid debut like Bad Omens' self-titled album, they have a monumental future ahead of them. This metalcore album marks the start of Bad Omens' good journey through alt-metal fame....

Favorites: "Glass Houses", "Exit Wounds", "The Worst in Me", "Hedonist", "Crawl", "The Fountain"

With a highly diverse style, Amaranthe's exact genre is subject to debate. It's unknown how this band ended up associated with symphonic metal, but it may have something to do with this other band of founding guitarist Olof Morck, symphonic power metallers Dragonland. While I can't deny their blend of trance/symphonic/melodic metalcore, the best way to describe them is modern pop metal. Within Temptation has also seemed to switch that style recently after over two decades of their own symphonic metal sound. Amaranthe have a lot to pull off in their next adventure. The Catalyst is the first album in 4 years since 2020's Manifest. The reason for a long wait can either be due to the sh*tty pandemic or the fact that harsh vocalist Henrik Englund left the band. But the wait is worth it! The fans can consider this is a nice two-months-late Christmas gift...

The Catalyst might just be the band's first album where they stay true to the symphonic metal association they seem to have. Bombastic symphonic synths have been added to their catchy futuristic style. That's actually good because there's more diversity than just swinging through their own attempts at cheesy electronic anthems, and it brings back the heavy glory to their earlier trio of albums from the first half of the 2010s. The crushing growls of their new harsh vocalist Mikael Sehlin fit greatly with the divine clean duo of Elize Ryd and Nils Molin, and Morck's writing. Almost every song has memorable impact, all making The Catalyst and offering of diverse joy.

The title opener already hints at the symphonics in the first 45 seconds, then escalates into the usual blend of brutal heaviness and pop melody. Electronics soar through alongside the powerful vocal trio. It's the album's longest song at only 3 minutes and 40 seconds, and they used the short length wisely with energetic hooks. "Insatiable" continues the pop metal power as a potential hit to sweep the globe. "Damnation Flame" stuns listeners with its anthemic chorus and more prominent symphonics, shining the most in the spooky carnival mid-section. "Liberated" is a more straight track that seems to throw back to the somewhat mundane formula of the late 2010s. But don't worry, the rest of the album would make up for that minor downfall.

The driving "Re-Vision" breaks through hard with vocoder and the harmony of the vocal trio. A perfect standout! Next up, "Interference" storms along with the usual electro-trance metal. "Stay a Little While" is the ballad of the album, with heartful symphonics and a lovely duet between Ryd and Molin. A nice break from the more modern electro-infused heaviness. Groove-powered "Ecstasy" has more of the driving energy. The one thing I would consider odd there is Mikael's Rob Zombie-like growl-rapping. Clearly he inherited some of that GG6 experimentation from Henrik Englund.

"Breaking the Waves" is a true symphonic trance metal anthem, in which the instrumentation is layered with tons of electronics and classical symphonics, as the synergy of clean and harsh vocals sail smoothly. So heavy and theatrical! "Outer Dimensions" is another blazing futuristic anthem. "Resistance" has techno-mosh fire and fury. It's quite triumphant for a song that's just slightly under 3 minutes in length, and it shall please even metal purists. "Find Life" is as an earlier single from before the band hired Mikael.

The best of Amaranthe since Massive Addictive has been greatly displayed in The Catalyst. This can certainly get you pumped when you're feel down. An essential album for anyone up for what sounds like pop hits gone metal, and that's no insult!

Favorites: "The Catalyst", "Damnation Flame", "Re-Vision", "Breaking the Waves", "Outer Dimensions", "Resistance"

There’s manic energy and aggression here, and it sounds quite dark by the genre’s standards. Musicianship is impressive, songwriting is interesting and varied… on a technical level, the album is rock solid.

Where it falls flat is in the memorability department. The riffs are very dissonant and chaotic, and really not pleasant in any way. There’s no memorable lead guitarwork to speak of; usually the guitar is switching between chugs and dissonant chords. The vocals are good, but again, just not super memorable. The lyrics aren’t quite evocative enough to boost them either. The rhythm section, on the other hand, is all-around fantastic. Both drums and bass pave awesome pathways for the music to follow, ever changing and full of speedy, aggressive work. “John Woo” is a great example of the Metal influence in the drumming, with fantastic double bass beats carrying the music forward with gusto.

All in all though, just not pleasant enough for me to want to revisit, and not memorable enough to… well, remember much of it.

Adding symphonic/black metal elements to deathcore was something barely existent in the late 2000s/early 2010s. In the mid-2010s when Winds of Plague started fading out of activity, and Make Them Suffer and Betraying the Martyrs discarded their earlier deathcore roots, it seemed like that idea was going to die out. But then the late 2010s saw the rise of Shadow of Intent and Lorna Shore, with the latter causing a massive spike up in the early 2020s, and spawning a league of younger bands of that style...

Alongside Mental Cruelty and Dragoncorpse, Drown In Sulphur has entered the symphonic blackened deathcore league with their second album Dark Secrets of the Soul! Deathcore brutality has been placed together with technical complexity and symphonic melody.

"Adveniat Regnum Tuum" (Thy Kingdom Come) is a disturbing intro of alien noises. Odd start there. Then a crushing modern blackened riff commences in "Eclipse of the Sun of Eden" with spectacular growling vocals. "Buried by Snow and Hail" adds orchestral depths in contrast to the extreme heaviness. The drumming speed is absolutely nuts, and it's an important aspect for deathcore chaos.

Continuing the previous songs' direction, "Unholy Light" offers metallic breakdowns in the blink of an eye. Things change a bit in "Lotus", a dark ballad that starts acoustic then builds up in heaviness and emotion. The emotion bleeds into the title track before raging on in the riffs, vocals, and orchestration.

"Say My Name" is a more obscure track, while still being a perfect slow banger. The atmospheric "Vampire Communion" is a nice interlude to get you ready for the album's massive ending... Final track "Shadow of the Dark Throne" is the perfect summary of all the band has done in the album. This is spine-chilling symphonic blackened deathcore for only the bravest and/or darkest souls.

Drown in Sulphur's second album is both a dark and beautiful offering. Dark Secrets of the Soul proves the band's place in the symphonic blackened deathcore league. I say this disturbing yet underrated style of deathcore shall be in good hands as the decade progresses....

Favorites: "Buried by Snow and Hail", "Dark Secrets of the Soul", "Say My Name", "Shadow of the Dark Throne"

In my journey to find new and undiscovered releases, there have been many ups and downs. This also counts for releases that have been recommended to me. I always appreciate the help I receive for my journey, though reviewing them is always about giving an honest opinion. Sometimes I end up loving a band to bits (Ryujin), and sometimes not so much (xNOMADx). And this one is somewhere in between...

Circuit Circuit perform a promising sound of experimental mathcore. After their self-titled EP, they made another one, Body Songs. And here we have some great powerful mathcore that leans into nu metal.

Opening the EP is "I Dream the World Awake", with a guitar riff loop before vocals crash in. Then the guitar halts for a bit of drum tapping before exploding into total riff noise. The riffing basically mashes together the early 2000s eras of Converge and Linkin Park. "Slander Eats Slander" is the most nu metal-ish song here. The sound is once again blended with mathcore in the guitar groove to make this track quite haunting.

Single "Deleted Skin" has more of that punishing guitar groove. All of that groove leads to a destructive breakdown with screams of "STUCK IN MY HEAD?!? OF COURSE NOT, OF COURSE NOT!" How killer is that?!

"Blood in My Eye (Holy Human)", like the opening track, starts with a guitar riff loop that then squeals its way into speed. The vocalist's impressive range blasts in before another killer breakdown and some more riff crunch. Disorienting, but a better track for the band's nu metal-ish side. Then it segues into "Null", beginning with slow riffing from the bass and eventually guitars that continue to loop. "HOW POINTLESS IS IT?!?! THE END OF THIS WORLD WILL BE SOON!!!" A true chaotic mathcore attack!

Well this EP could do without the abrupt cut-off at the end. Nonetheless, Body Songs is a solid offering of nu-mathcore. Guitar grooves and shouted vocals have surely united two separate realms from the early 2000s in the present. The circuits these guys have will keep you wired....

Favorites: "I Dream the World Awake", "Deleted Skin", "Null"

This debut album from Columbus' Rejoice is the kind of crossover punk that metalcore was founded upon. Nothing found within All of Heaven's Luck sounds like it would fit within today's modern definition of the term "metalcore", but it still has that aggression and beatdown aesthetic to it that calling it anything other than metalcore may be a disservice. There are a lot of influences from early hardcore punk bands here, most notably Black Flag and Hüsker Dü, while the truly metalcore sound comes from the half time breakdowns and its blunt, knuckle sandwich to the face lyrics.

While the album does have some good melodic leads throughout, it struggles to find a foothold during the first few tracks. The record get slightly better following "Crawling Through Agony", just in time for the record to end! That's another thing this record borrows from punk: the song/album length. This record doesn't even eclipse twenty (20) minutes, which unfortunately leaves the strong second half feeling unfinished. Nevertheless, on an individual song perspective, the albums second half is really good and shoes off a side of punk/metalcore that I wish was explored more in the 2020s.

Best Songs: Malevolent Deities, Burnt By Dusk, Temple Of The Worm

Melodic hardcore/metalcore has indeed been underappreciated in the present when bands have gone the more djenty route. As rare as it would be to find an EP like this one from xNOMADx released in this decade, I personally don't think of On Skylines of Embers as the legendary classic that people in the future will consider it. It's quite decent, but it's missing the spark that similar-sounding bands had in the 2000s such as Shadows Fall, For the Fallen Dreams (especially their debut Changes), and Unearth.

The songs here are good with their melodic heavy riffing and vicious vocal fury, but not enough to make highlight territory. The one exception is the sick "Acephale", with its otherworldly riffing and clean/scream duet at the end, both marking this song a perfect gem. But the rest of the EP? Not really the best, but worth a try....

Favorites (the one highlight to really stand out for me): "Acephale"

I'd never heard of Massachusetts melodic metalcore outfit xNOMADx prior to my nominating their 2023 debut release "On Skylines of Embers" for The Revolution feature release status this month. I'd noticed how popular the E.P. seemed to be on a competitor's website which had peaked my interest, particularly given that melodic metalcore is generally a little unfairly treated on most serious music sites. At just seventeen minutes in duration, "On Skylines of Embers" is only a very short experience with its five tracks never overstaying their welcome or seeing you reaching for the skip button. Admittedly the material is very generic in many ways with the screamy vocals & simplistic breakdowns sounding oh sorry familiar but what differentiates xNOMADx from the pack though is their use of melody. You see, they make no attempt to take the Gothenburg melodic death metal route by layering harmonized Iron Maiden melodies, instead opting to go for a more unique & satisfying type of lead guitar melody that comes across as being more sophisticated & professional. The production is well suited to the material too as it has an air of accessibility about it which leaves xNOMADx feeling a touch more light-weight & easily digestible than many of their angry tattooed peers. Short opener "12.29 (Ahiarmiut)" is the clear highlight for me personally as it's probably the least derivative of the five songs but the other four are all worth hearing in their own right, even if a couple of them do hint at up-tempo pop punk at times.

So, is "On Skylines of Embers" worthy of all of the high scoring? No, I don't think it is but it is one of the relatively few melodic metalcore releases that don't see me recoiling fairly quickly & I can see why it's managed to appeal to a wide cross-section of the market, particularly a young female one. I don't say that in a negative way though because this is simply a well-written, executed & produced record made by a talented & passionate group of metalcore kids. I'm not surprised to see Saxy getting onboard with it & would imagine that Andi will be all over it too but it wouldn't surprise me if it caused Xephyr to raise the odd eyebrow for it either. I can't see myself coming back for future revisits but I do have a smile on my face after my long drive home from work which can't be a bad thing now, can it?

2023 was a bit of a change when it came to the music that I listened to. Following my exit out of some of the more toxic review circles in 2022, I found that in 2023, I was going to pay more attention to the mainstream and what got popular there as opposed to what some bald man in plaid on the internet thinks, and then have all of those viewers dogplie it to the top (or bottom) of the RateYourMusic charts. As a result, 2023 saw a considerable jump in terms of albums in the Revolution clan. My favourite of the bunch (Dying Wish's Symptoms of Survival) played right into my tastes as it combined mid 2000s metalcore with a slight modern twist.

The key is that Dying Wish are playing to a certain audience that is in on the nostalgia. xNOMADx on the other hand, are making a very different style of melodic metalcore. If you can think of the emo-hardcore/sasscore of recent bands like So Hideous and SeeYouSpaceCowboy and throw in what I can only describe as La Dispute poetic vocal delivery, you'll likely have a good idea as to the kind of metalcore you're getting here. And it actually works really well. Most melo-hardcore bands of the past think that in order to fit into the "melodic" tag requires clean singing, but xNOMADx prove that is not the case. Most, if not all, of the melodic leads on this record are provided by a lead guitar while the harsh vocals are quite moving in their delivery. 

The compositions of these five (well, only four I guess since "12.29 (Ahiarmiut)" is more of an intro) are top notch in terms of quality of performance and production. Bass is thorough and the percussion does not feel trigger happy during the breakdowns. If there is one thing to criticize here, it would have to be the breakdowns themselves. They feel very simplistic and on a couple of instances, I knew that I had heard these exact same rhythm of notes somewhere else before in the past.

Like I said, melodic metalcore takes two forms; the nostalgic style of the mid 2000s, and the modern, progressive style. xNOMADx are comfortably playing into the latter and I think it sounds great. Can't wait to hear what this band has to offer in 2024 and beyond.

Best Songs: On Skylines of Embers, The Punishment, Hand That Hold Me Hold Nothing

I've certainly been aware of West Virginia metalcore legends Zao for some time now due to my past involvement with The Revolution Spotify playlists however I'd never taken the plunge with a full album before jumping into their highly regarded 1998 third album "Where Blood & Fire Bring Rest". It certainly sounded like it might be right up my alley on paper but I have to admit that I've been left with a fairly middling (if not necessarily disappointing) outcome. Here we see Zao presenting us with a punk-heavy brand of metalcore with a reasonable amount of experimentation going on that never really convinces me that the band are deserving of the praise this record inevitably seems to draw. The vocals of front man Daniel Weyandt aren't amazing to tell you the truth. He's got one of those really wet & gurgly blackened screams that sounds like he's trying too hard but hasn't really got what it takes. I felt very similarly about Converge singer Jacob Bannon during the first half of his career actually but Converge had the power to pull it off regardless. I'm not so sure about Zao as I find them to be less intense & a little easier on the ear.

To be clear, I'm not saying that I don't enjoy "Where Blood & Fire Bring Rest". It's a pretty decent metalcore record overall but the highlights ("To Think of You Is to Treasure an Absent Memory" & "Ember") don't reach the elite level & there is a flat section during the second half of the album that sees me losing interest temporarily (see "Fifteen Rhema" & "For a Fair Desire"). The musicianship is pretty decent but the song structures sometimes push the friendship, there are more generic metalcore breakdowns than I'm comfortable with & I find the Korn-ish nu metal parts to be a little tedious. So, it's fair to say that I find the album to be a decent way to pass the time but I'm unlikely to return to it in the future. I definitely prefer the more visceral material that bands like Converge, Snapcase & Disembodied were delivering at the time.

Still exploring deathcore is the phrase that will probably be on my gravestone, such is the infrequency with which I bother to visit the sub-genre. This record stands out due to the “breakdown factory” that I have heard the previous release from Black Tongue being described as has seen a downturn in its output based on my few listens through this, their third release. Whilst the conveyer belts have not completely ground to a halt, there is a lot to be said for repeat visits to Nadir to truly understand the depth of the ten tracks on offer.

Only Ultima Necat seems to dwell in that truly generic deathcore space. The rest of the track listing is more of an expansive experience. Incorporating grindcore and black metal alongside the slower and abysmally heavy sections of other tracks. The album has a narrative and is therefore told as a story, each track focusing on a life being forced to answer for all the wrongdoings it has undertaken. This cruel judgement is emphasized on tracks such as Parting Soliloquy with its begging and pleading lyrics making as equal a splash as the start-stop percussion and menacing atmospheres. This is by far the most obviously descriptive track in terms of the vocals, but it never strays towards being boring or mundane. Instead, the instrumentation weaves into the space the usually more rapid vocals would fill to pace the track well.

The addition of the Celtic Frost cover is unexpected, yet it works well with the rest of tracks of the album and the cleaner singing that punctuates the track also helps it to stand out from the pack at the same time. Nadir then lives up to the promise of the crawling darkness that the album artwork offers. In parts it is terrifying, resonating with the darker edges of my psyche far too well for my comfort in places. An epic exploration of suffering, judgement and execution, Nadir is a triumph of an album that gets further under your skin with successive listens. In my brief experience of deathcore, it is one of the more mature offerings and one that is perhaps moving the farthest away from that generic sound that so easily lands so much criticism.

14 minutes is a short amount of time, and you can do anything during that amount of time. You can write something, do a small drawing, maybe have a call with someone, OR... Listen to music! See, I can spend 14 minutes of free time listening to music, but it's mostly just a progressive epic that long. I prefer to indulge in a journey rather than one of those grindcore speed-runs. Though I find great enjoyment in the Killwhitneydead debut release Inhaling the Breath of a Bullet, speeding through exactly 833 seconds.

See, I'm not usually a fan of this metalcore/deathgrind kind of sound, nor the grindcore aspect of really short songs. However, this release is an enjoyable exception, along with Daughter's Canada Songs. Something unique here is the amount of film samples they use, which is more of an industrial metal aspect. But d*mn it's quite interesting, and with up to a few samples in each song, that can almost outshine industrial metal bands when it comes to that aspect. Now I have a positive feeling about how well they perform the instrumentation. You can really hear those virtuoso guitar bursts!

"If It Ain't Johnny Cash, It Ain't Country" opens with well-done riffing brutality, complete with catchy speed. "I Already Have Enough Friends" have pretty much the same thing, quickly moving through your skull and brain faster than a bullet. "Hold Me Closer Tony Danza" starts with the same American Psycho quote as the one used by Children of Bodom between "Bodom Beach Terror" and "Angels Don't Kill" in Hate Crew Deathroll a year later.

"Another Tragic Case of the Rock Star Syndrome" strikes with blast-beats, vocals, and riffs, filled with bloody carnage. The structure isn't too complex or too simple but just right. The dark disturbing atmosphere works well for those riffs and samples. And there's a lot more in the two and a half minute highlight "Starring Robert Downey Jr. As 'The Addict'". Also standing out is "It's Like Eating a Little Piece of Jesus (A Murder's Communion)" that continues the crazy riffing/vocal brutality that summarizes the band's sound. Much of their talent appears again in "Is That My Blood or Hers?", with great vocals and guitars not too far off from Psyopus.

Even "Why Smile When I Am Carrying This Gun?" can have a similar amount of complex brutality to Within the Ruins. "Mikey and the Apartment of Misfit Porn" has some slight earlier standard metalcore of Hatebreed and Earth Crisis. "Killwhitneydead vs. The River Bottom Nightmare Band" has great sublime groove. "My Favorite Two Shades on You Are Black and Blue" ends the album with the last bit of crazy blasts and riffs and some last words from Patrick Bateman, "I think my mask of sanity is about to slip."

The sanity of this band has already slipped from the start, as they let their mad metalcore/deathgrind sound run wild and free. This is the kind of the madness worth 14 minutes of your life, if you're truly ready!

Favorites: "If It Ain't Johnny Cash, It Ain't Country", "Another Tragic Case of the Rock Star Syndrome", "Starring Robert Downey Jr. As 'The Addict'", "It's Like Eating a Little Piece of Jesus (A Murder's Communion)", "Is That My Blood or Hers?", "Mikey and the Apartment of Misfit Porn"

With their EP A Certain Innate Suffering released in 1997, Withdrawn started off as dark sludgy metalcore/hardcore. Adding in some death metal elements that had yet to solidify the metal/deathcore sound of their 1999 album, you can consider this band a mix of Asphyx and Earth Crisis. Those were the days when UK hardcore had the slower metallic vibe of Deviated Instinct.

You can hear a stunning difference between this EP and Seeds of Inhumanity. Here you have a simpler yet brutal experience as there's more heaviness than variation. And this can actually be more of a struggle for modern listeners like myself...

First track "Lifeless" fits well in the song title. Apart from the aggression, there's not much exciting as it just plods along. The 7-minute epic "Serenity" is much better despite the lack of hardcore gang vocals and melodic hooks. What makes this song stand out is thick guitar reverb (different from the album) and the loose drumming (just like the album). Interesting despite the repetition! "Oceans of Darkness" greatly adds the doomy progressiveness that later Dodheimsgard and Green Carnation would have to the metallic hardcore of later bands like Vision of Disorder and Demon Hunter. "Embalmed" is a little too anticlimactic.

Intending to make a dark impact on UK metallic hardcore, the end result was a somewhat poor EP. After this, two of the members left to form their own bands, which would explain the more melodic sound the drummer and the guitarist would make in their album. Still this EP is worth hearing hardcore/metalcore at its darkest....

Favorites: "Serenity", "Oceans of Darkness"

It took me the entire albums release weekend before I could muster how I felt about the newest album from Portland metalcore band Dying Wish. And it's because I found the record more conflicting than I did at first. I really enjoyed my initial playthrough of Symptoms of Survival, thanks in large part to a very well done mastering job. Nothing on the record becomes overwhelming and it pushes some excellent hardcore vocals from Emma Boster to the front. The clean singing could have been incorporated a little bit more frequently in my opinion, but the sparseness makes them feel that much more comforting when they do arrive.

The album starts off very strong with its very clear influences to the great melo-hardcore bands of the mid 2000s, but eventually it transforms and the compositions become more sporadic and not as well implemented, almost as if it was starting to take influence from another 2000s metalcore band: Converge. But that's not even the best part! Halfway through the album, "Paved in Sorrow" takes on this post-hardcore ballad that would not feel out of place on a Svalbard album!

And yet, the album still flows remarkably well. Even if I'm not the biggest fan of the herky-jerky performance styles of early Converge, Symptoms of Survival is an album that maintains an identity and shows that they can keep that identity intact even through the albums emotional roller coaster. A pleasant surprise for sure and one that should be considered by anyone familiar with 2000s metalcore.

Best Songs: Symptoms of Survival, Starved, Path To Your Grave, Hell's Final Blessing, Lost In The Fall