Review by Shadowdoom9 (Andi) for Born of Osiris - Tomorrow We Die ∆live (2013)
After Jason Richardson left the band on a sour note, many Born of Osiris fans thought the band would never be the same without him. Well at least he's in a better place now... That better place being another deathcore band Chelsea Grin, and recently another favorite band of mine, All That Remains! But that's a story for another review. Anyway, all that's left in the lead/rhythm guitar section is Lee McKinney, and according to some videos of Born of Osiris shows, he couldn't properly play the parts originally performed by Richardson. The Discovery was loaded with shredding guitar solos and soaring leads, which the pre-released first couple tracks of their next album didn't have.
Then just when fans thought this album Tomorrow We Die Alive would be a small step backwards, it's a giant step forward!! This album has amazing keyboard synths and, from track 3 onward, a great amount of shredding by McKinney, more technical and well-written than before. Today they live dead, tomorrow they die alive! By the way, all the A's in the song titles are replaced with triangles, but I'll use the A's anyway for this review.
Besides no shredding, "Machine" starts with a short but epic orchestral overture that might as well be the start of an Audiomachine song (my new Audiomachine-loving friend would love that). Then it booms into guitar, bass, and synth in a killer riff battle. "Divergency" is more sci-fi-dubstep-influenced, especially that 30-second Skrillex-like ending. I would be a little like other Born of Osiris fans and say "What's this dubstep garbage?!? Who sneaked that in there?!" But not really, because I used to like a few Skrillex songs before my metal taste started. "Mindful" marks the true return of shredding, with incredible lead guitar and synths.
"Exhilarate" is one of the more personal humble tracks lyrically. But musically, it's exhilarating with keyboards and Chester Bennington-like clean vocals mixed with the usual screams. Plus, there's a short swift guitar solo toward the end. "Absolution" is absolutely melodic, especially the vocal line in the chorus, switching between progressive excursion and melodic sci-fi Disney-like sweetness. The vocals in "The Origin" have a lot of laser-sword-sharp energy. That and the melodic synths make that song never boring at all. "Aeon III" has a bit of Eastern instrumentation with greatly ambitious lyrics. "Imaginary Condition" really keeps the energy high with as many killer guitar riffs as they needed in the mix.
"Illusionist" continues the incredible guitar riffs and shredding, here with frosty reverb and symphonic synths. The stellar synths continue in "Source Field" with solid guitar melodies, well-executed drums and memorable singing. "Vengeance" once again starts smooth and symphonic before breaking through a journey of epic chaos. However, the song and the album ends in a confusing symphonic-electronic-Mariachi outro, leaving the listener confused and unsettled after it's all over.
Basically, this album is an incredible combo of the technicality and melody of Periphery, the riff-wrath of After the Burial, and the brutality of Whitechapel. Pounding speedy drums, soaring guitar and keyboard melodies, and awesome vocal combos, all in a good mix, though the bass is a little hidden. A true epic djent-metalcore journey!
Favorites: "The Origin", "Illusionist", "Aeon III", "Source Field"