by Oliver on May 13, 2024 in Album
With Death is a Little Moretheir third studio album since 2020 Boundaries In the ears of many scene fans, they can compete for the title of best metalcore album of the year.
Which is understandable – after all, the quintet from Hartford is a tiny attack of competence when it comes to big beatings – but you still don’t necessarily have to share this opinion when it comes to a fundamental problem with the band’s MO. Because where clean vocals subjectively generally represent a fairly necessary, mostly carefully constructed melodrama in the minefield of brutality, they also work Boundaries in the passages sung with pathos Death is a Little More Danger of twisting yourself with an even cheesy tendency.
The solidly woven pathos undermines almost all of the dark hatred in the otherwise captivatingly harassing maelstrom Darkness Sharedwhile the pleading emo gesture of Easily Erased Despite all the ambivalence, I still don’t respond to the over-the-top intro Cursed to Remember (Marke: Funeral for a Friend before their first album as Artist in the Ambulance) prepared – but admittedly not for the surprising outro in the dark ambient electronics as a harmonious facet.
Nevertheless it succeeds Boundaries Even in these scenes, it is admittedly more rounded than has often been the case before, aiming for the display change to the melodically pandering extreme. Even more: weave it out the back Death is a Little More The polarizing passages are even almost satisfying, given the staccato provocation Scars on a Soul with alternative rock guitars that look like punk rock – the dose is right here, but it seems structured in a formulaic way Boundaries the mass-appealing choruses always have to be offered twice -, Blame’s Burden classic heavy metal and synths in order to step on the ballad-like, languishing Kotrast brakes with Marcus Vik, or Inhale the Grief hymnal tendencies harmoniously added up to the conciliatory conclusion.
Nevertheless, there is always the feeling that Boundaries With the clean sequences, they work past their actual strengths or at least dilute their basis – somewhat like an MMA fighter who, instead of finishing off his opponent as a final consequence, prefers to do a few redundant pirouettes.
What is further underlined by the fact that those passages from Death is a Little Morein which the admirers of the Divine comedy suppress any melodic penetration and give the merciless berserkers, function all the more forcefully.
The schizoid panic is galloping away Turning Hate Into Rage with heavy riffs and nihilistic ones Nails‘esque lyrics to the beatdown roller Like Petals From a Stem the grinding, swirling inferno with a penchant for tectonic heaviness, breads the title track with breakneck speed, roaring guitars and a cheesy soaring solo to the double peak, or wants to A Pale Light Lingers no price for originality at all, because the relentless hardening band is so damn urgently gripping on the edge of the amplitudes of the legacy of Misery Signals balanced, only to then decide on the nagging meanness of Lochie Keogh and then the remix vortex just before Relapses unpacked.
Face the Blade the dynamics of the wrecking ball vary reciting and Blood Soaked Salvation vMatt Honeycutt’s additional destructive power is a bit wasted in the mix, but it still creates an unpredictable carnage by which much of the scene has to be measured. That in the recipe of Boundaries There are still some ingredients in play that can continue to annoy you personally, but that’s really not the problem Death is a Little More.
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