Dagger Threat : "Bleed /// Reboot"

This German band is a metalcore band that leans more toward the hardcore side of the equation more often than not. They are in your face and heavy as fuck, but can still pull out some catchy riffs, and melody drifts through what they do like a Victory Records band from the 90s. You can hear how both Deftones and Slipknot have influenced them. "Tissue' certainly has  aml\mple nu-metal influence, and this is fine. I don't feel this makes them any less hardcore. The death metal vocals that come in on "Leech" do, however, lean their sound more in the direction of metalcore. As death metal is less influenced by hardcore, where nu-metal came out of the hardcore scene. 

"Code red" shows how entwined the genres of hardcore/metalcore and nu-metal are as it incorporates all the elements of those genres. "mire stomp" bounces with the more typical modern hardcore hybrid, as unless it's bands like Terror, most of these are pretty incestous as it is jsut not limited to what these guys are doing but the direction things seem to be heading in, even bands like Code Orange took a turn toward. By the time we get to 'shiver," things begin to run together, despite the darker elements being present, and it almost runs off a Korn-like riff.

The dense staccato attack of "the nothing" finds the down-tuned hammering pretty effective, but even with the bellowed singing and bits of atmosphere, the intensity level has been at 11 for the whole album, and it has collided into Slipknot-influenced breakdowns in a way that has been a constant throb, that dulls my ear drums this point.It does get mired in it's own groove at time but I am down with the energy it brings as it makes for a great album, I will give this a 9.

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Death is June- Ninth Realm : "Damnation's Veil"

The hardcore energy at the core of this band's sound took me by surprise. The album cover makes you think this is going to be more along the lines of Dissection's earlier work.  It finds its center in the aggressive vocal approach that punches at you rather than being a more atmospheric low-end growl. This also gives the band a great sense of purpose and keeps them from being a chaotic blur of blast beats and guitar solos. It is most effective on the opening track, as the second song feels like it is an extension of that energy. Then it begins to gain a more Entombed-like rumble. This makes sense considering the rough-around-the-edges approach to death metal that the band would take. 

Lyrically, this album is supposed to explore some type of fantasy world they came up with, but given the in-your-face approach to songwriting these guys take, I am not feeling anything otherworldly about this, as there is little atmosphere to be found. The guitar solos are the most melodic thing going. I could see them going in a more Bolt Thrower direction, which might be what they are going for on "Rituals of Thar' amarth," but it barely comes through the collision of drums and guitar throttling one another.  'Wyrd of Strideborne" works more on over-thrashing speed than hooky riffs, even though a few are thrown in. 

When they are more deliberate, it works best for them as this allows the band to fully collect their thought as heard on "Beyond the Void," though things accelerate when the vocals come in. "Vengeance Unto Rot" is effective at what it does; however the album begins to only work off one dynamic."All Hail Treachery' doesn't really do a great deal to break that up. This begins to border on metalcore. Perhaps marketing is where the line is drawn. The last song could almost be one of Converge's more metallic offerings. I will give this album an 8.5, as I like its energy andd intent, it's just not as dynamic as what I would listen to on a more regular basis, but it might fit your needs.It drops August 28th on Transcending Obscurity.

Death is June -100 Demons :" Embrace the Black Light"

 Not all metalcore is as bad as you assume it might be; in fact, some of it is much more metal than core, to the point that you can't tell the difference between something like the opening track from this band's album and the bulk of death metal that came out in the early 2000s. There is a more omnious punch to "Made For Nothing"; the vocals on this one are really the only things keeping this from being death metal, even then, the wall of double that comes crashing in is pretty impressive. "Through Seven Eternities" hammers even harder as they speed up coming out of the verse, before chugging their way into some headbanging riffage. 

"Meat For the Beast" is running off a Slayer-like drive. While their vocalist rides the riffs well with his gritty bark that sometimes comes clsoer to a growl, he is rather one-dimensional, but I did not notice until I was four songs in. It is also four songs in until they hit the first breakdown riff. "Nail it Shut" races more likea punk song, but that could also be said of Entombed. In the second half of the song, they lock into more of a groove. "Cold Wind of the Cross Roads' finds the vocals taking on more of a growl at first. The mean riff that is metal as fuck is what elevates this one. Sung vocals also show up here; they are counterbalanced by growls.

"Han Hammer" is blessed with some great riffs, which seems to be the common trait shared on this album. There is a super mean but simple riff that is the core of "Night Parade of 100 Demons".  Their drummer is getting it on "Foul," which works off a huge guitar sound. As a whole, this album benefits from immaculate production. "Werewolves at the Wall" starts off racing at you like At the Gates. The vocal trade-off on the chorus is more hardcore. "Return to Zero" carries a convincing menace as it finds a thrashing groove. The last song also follows a similar path. The album sounds great, the vocals are a little one dimensional is my only complaint, but they have no shortage of ripping riffs to balance it out. I will give it a 9.5 and see how it grows on me.

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Attila : "Concrete Throne"

 

Atlanta's Attila put the city's ghetto fab attitude into metalcore, and the title track that opens this album reaffirms any sneaking suspicions you might have had about their Juggaloo leanings. There are country flourishes thanks to the guest vocals of Don Lewis.  This seems to be the direction this sort of thing is going. It is decently written for what it is. It just feels a little contrived to me. "Handshakes with Snakes" is more metallic. In fact, this album has a pretty massive sound. It's well-produced festival metal that is easily consumed by fans of Ghostemane and Lorna Shore alike. This song, however, is not as hooky as some of their previous work. 

I think what works best for them is when they blend ghetto charm and attitude with the Myspace metal feel, which we are not getting on "Grifter' it feels like they are trying to get heavier than what is real for them. Some bands already do this better. There is more groove to "Bite Your Tongue,"whih gives them room for melody. Granted, this might take things to the more pop-oriented side of the spectrum, so seeking balance is best. It would certainly kep things from being generic in either direction. 

Thankfully, all the songs are around the three-minute mark so nothing has to be endured for too long. "Killdozer" is pretty color-by-numbers; if you told me AI wrote the song, I would believe you. "Rock$tar" almost gets them back in the direction that works best for them. Though lyrically it's pretty silly as they drop rock song titles from the 80s in order to build cred. They bring pop country singer Shi Eubanks onto "I Don't Drink, I Get Drunk," and as stupid as it might be, it works because it is catchy. It's a gamble that pays off. 

'America's Rejects' is for the lowest common denominator, perhaps their Juggalo fan base. It is well produced and sounds great despite this. "Atl" needs to sound like Pantera and have more trap beats in order to capture the vibe of the city. While these do surface, it needs to fully ghettoize things out. The overrated Will Ramos of Lorna Shore shows up for the more generic metalcore of "Pressure," which, for all it's aggressioon manges to be boring as hell. Rapper Smoke Chapo joins them for the last song, which works better than it should as it seems to be something they needed to lean more into this album and just become a nu-metal band, as no one takes them seriously by trying to get heavier. 

The verdict - they have been more effectivr at eriting hookier songs in the past, it's still big dumb metal with a ghetto swagger that will keep getting Faygo sprayed in their direction, but they could have more fun and not try as hard, the chances they do take work in their favor so I will give this album an 8, the fans should love it, but I won't listen to it again. 

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Poison the Well : "Peace in Place"

 

When these guys came out, I appreciated what they did, but I just listened to other bands. I was very aware of what they were doing as they blended clean singing with hard-core, though certainly not the first to do this. They, however, influenced much of the Myspace metal to come, and their influence can still be felt on metalcore. The legit organic nature of their hardcore roots colors the opening track. "Primal Bloom" continues further down the more hardcore side of what they did. When it drops into the sung voals it does not occur at the most predictable time, not making it an anthem. 

There is a more nuanced lead into "Thoroughbreds". The sung vocals are less pronounced as they continue down a more punk path. The thump of the bass line and the vocal melody put "Everything Hurts" at the head of the pack when it comes to the best songs so far. "Weeping Tones" finds the sung vocals produced in a way that bridges them to modern metalcore; I don't remember being present in their earlier work. There are some cool chugged riffs in "A Wake of Vultures" which feel a little more like Bihohazrd than I recall from them.

"Bad Bodies" continues to flirt with its more hardcore side. At times, the more melodic moments feel like Code Orange. They share a love for syncopated breakdown riffs, going where there is no breakdown. "Drifting Without End" has a more Deftones-like feel. I think this is pushed even further in that direction with the shift in production, which is less organic than their old material. "Melted" works off a more familiar hardcore stomp."Plague With the Most" works off a more metallic chug. The production on this album certainly introduces them to the kids of today who might not know their music history in an effective manner. I will give this one a 9. 

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Despised Icon : "Shadow Work"

2025 has been a good year for Canadian musical exports. Perhaps it is a gesture of goodwill to make up for the shitty Rush reunion tour they are trying to sell us. This band is at the more extreme end of the metal core spectrum, with hammering drums that attack alongside the guitar with mechanifcal precision, and twin guitar harmonies that leap from the din.  By the time we reach 'Over My Dead Body,' it's clear that their strength as a band lies in the balance between their metal side and their hardcore side. However, on this song, they come across as an angrier and heavier version of Slipknot, with pig squeal vocals. 

There is more technical guitar work to the more in-your-face blast to "Death of an Artist." It is more intense, but it does not offer as much to hook you in as the first two songs. Even more breakdowns, like riffs, are jagged and punchy. The more deliberate 'Corpse Pose" has more of a death metal groove.  "The Apparition" is a more brutal charge forward into angrier death metal with epic atmosphere painting the background. It also locks into impressive grooves to break things up from the sheer wall of brutality they are prone to hit you with, along with gang vocals.

"Reaper" finds the band splitting the difference between the metalcore crunch and more of a Slipknot-inspired head bob. The vocals range from pig squeals to a low gurgle. There is a great deal of purpose that makes this song more convincing. 'In Memoriam' has more pomp and circumstance, setting the stage for what unfolds, which includes sung vocals..The blunt force of their sonic pummelling is served up straight, no chaser on "Omen of Misfortune", then they give you hooks after this with the hardcore stomp of "Obsessive Compulsive Disaster". They continue down the harder-hitting street of hardcore brawling when they throw you into the circle pit that is" Contre Couer". The flex in your face with the attitude that flows through the mood of 'Fallen Ones". I will give this one a 9 as it is very convincing and should satisfy fans of more extreme forms of metalcore. 

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Dying Wish : " Flesh Stays Together"

This is the third album from Portland's metalcore mavericks Dying Wish. It starts off more melodic than expected. I am not sure why I have not given these kids a listen before this, but there are so many bands, and only so many hours in the day, but the buzz that this was a darker album caught my ear, and I like what they are doing on the opening track. They are more on the hard-core side of the metal-core equation, even with the way Emma Boster employs sung vocals. It is done in a less formulaic manner than what Killswitch Engage is known for. There is also more emphasis on dishing out beatdowns during the breakdowns. 

"I Know You're Not Around" finds her bleakly melodic singing leading off the mood. This finds a more thrashing tone, grooving things out, and her vocals catch more soar on the chorus, bringing them a little closer to the mainstream. At this point, calling the riffs' breakdown is not accurate, as that is just the pace they chug at even on verses. The only formula developing seems to be Emma starting off the song with singing. These melodic tendencies are allowed to further germinate on " Nothing Like You," which is a wise choice as it creates a darker feel. It also creates a bigger impact when the smackdown falls.

"Surrender Everything " carries a more rock n roll drive similar to Pantera or Lamb of God, though less southern fried. Thanks to the strong hook of " Moments I regret," it might be the album's most accessible moment, while not compromising their hardcore ass kicking. There is a hyper-aggressive riff with a more death metal feel driving "Empty The Chamber". "Heaven Departs" comes a little closer to Spirit Box's zip code, though with none of the nu-metal aspirations. The more melodic track works really well.  All in all, the darker more harder-core blend this band brings sets them apart from the competition while setting them up to play bigger stages for wider audiences without selling out so I will give this one a 9.5 and see how it grows on me.

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Living Dead Girl : "Con$piracy"

The title track that opens the album finds Molly and company continuing to perfect their ability to blend metalcore-edged riffs against bright pop-punk choruses to make almost every song on the album. By the second song, they have already locked into a formula with her screamed vocals dominating the verses as her more sugary pop voice comes to take the sting away on the chorus, though one thing I like with "Poison Me" is the kind of breakdown section that their down-tuned guitars contrast with synth ambiance. She is not repeating the hooks, so there is a distinct difference in the choruses of the first two songs despite them following a similar arrangement.,  

Since their last album "Exorcism: it is clear that touring is paying off as they have had experience having to stand up to the bands they have played with in terms of how heavy they are. Granted, with bands like Spiritbox and Jinjer gaining a great deal of popularity since their last release, the target audience is much more focused. They use Falling in Reverse as a stop to syncopate the improved riffing.> "Ugly" is one of the lead singles for the album; it carries a more manic guitar riff, with her vocals once again providing the honey to juxtapose it. There is a darker, sexier pulse to "Succubus" that gives it a groove to make it the best song so far. It also eviates from the formula the other songs worked off. 

"The Disease' works off more of a nu-metal cadance that her vocals propel. This has always been inherent to this kind of metalcore. Though the default is to the anthemic chorus vocal on this one. The breakdown riff to this one is pretty cool. "Eighteen" finds the dynamics shift to a darker '90s feel. Though the light comes back on brighter when it gets to the chorus. "Wild and Free" is in direct contrast to the previous song as it could almost be the soundtrack to an anime show. Poppy but well written. I also like the more deliberate stomp of "Unstoppable" that captures all the best sides of the band. The album closes with "Survival Mode". And Molly is given room to open up and sing, making it evident the work she has put in to improve her voice since the last album.  I will give this album a 9, as they have come together and tightened everything, as the hard work put into this album is evident and pays off for the band and fans alike. 

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Lorna Shore : "I Feel the Everblack Festering Inside Me"

 I gave Lorna Shore's 2022 album an 8, as I noted they were good at what they do, but it did not resonate with me. A few minutes into this one, and I can hear where it is heading in a similar direction. The arrangement to the opening track is more chaotic, but they have a big, sometimes orchestral sound that gives the feel of a metalcore band trying to cosplay as Dimmu Borgir. Will Ramos throws his voice around in a manner that can be a bit annoying. I think the lower death metal voice is more his forte, but these guys are building off a brand. 

It is produced in a manner that sounds heavy, and is played in a manner that sounds heavy, but so far, it does not feel heavy. I think the pristine production has sterilized some of the heaviness out of this album, as it is without a doubt overproduced. The blackened elements of their sound feel like it's something they like but is not a part of who they are as people. I do appreciate that "Oblivion" has more atmosphere as it balances this song out. I think most of their songs are twice as long as they should be, and as songwriters, they need to learn how to trim their own fat. 

"In Darkness" finds the orchestral elements taking a larger role, while they throw chaotic temper tantrums behind it, eventually leading to variations of a breakdown. The formula they use is on a sliding scale, still intact. It is very cinematic, but almost to a Disney level. This is even taken a step further on "Unbreakable," which is more calculated and accessible for this brand of metalcore. Though symphonic metal core is a stupid concept, as the symphonic element negates the hard-core part of the metal-core equation. Though the band wil surely insist they are beyond labels and sub-genres. 'Glenwood" makes it clear what the problem is. The melody created but the sweeping guitar lines and symphonies is trying to be epic, and it's not dark enough so it ends up sounding like a metal band trying to make music for a Disney Princess parade. 

"Lionheart" is more about the Disney bullshit, where " Death Can Take Me" dials that back a bit , but in doing so leaves them sounding more like your average metalcore band, though the more melodic elements this time around remind me more of Behemoth. I would rather just listen to Behemoth, as there are fewer pig noises.  But it is an improvement for the Disney thing. "War Machine"  has some more deliberate breakdowns like riffs that are heavy neough to understand why people like these guys. They are back to being Temu Borgir, on "A Nameless Hymn", which, if you did not know better, might fool you into thinking this was some next-level shift, but it's almost a total ripoff, like their producer asked AI to write the song for them. Despite the pace picking up to a more At the Gates speed in places, the last song is numbingly boring. 

They went into the studio and made the album expected of them, dialing the symphonic elements up enough to make it feel like they are not just dialing it in. It is enough of a change to talk about in interviews, and some kids are just dumb enough to be wow'ed by the guitar solos and overproduced layers of pig squeals to not ask further questions of this band or even know what questions they should be asking.. Is this done in a professional manner that sounds polished and massive? Yes, but these guys have a ton of money invested in what they do, so of course, they are making a professional-sounding album. But it's boring, and really makes perfect sense they would pander to the press and depend on bands like Babymetal and Sleep Token as they are really just cogs in the machine , and this is business as usual, so I will give this a 6. If you want to hear what good deathcore is, give the new Internal  Bleeding a listen instead; it does not have any of the Disney trappings and crushes this album.

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Nicolas Cage Fighter : "i Watched You Burn "

 This Australian band calls themselves metalcore, but I am only hearing metal at their core. The riffs that hint at hardcore could be heard on a Slayer album, and they do blend thrash with death on this album. The vocals do take punchier patterns in their phrasing than straight growling like a death metal band, but are pretty clsoe to it. They kick the door in with the first song, but then they must prove they can write songs rather than just deal in sheer heaviness. "Valley of Agony" has more groove, but some of the breakdown stomping riffs are a little too predictable. The vocals are more of an abrasive growl, getting pretty hard by the time we grind into "Godforsaken Silence". 

The problem begins to be dealt with. What sets these guys apart? Why should I put this album on instead of Harms Way or Knocked Loose, who write catchier songs? Thankfully, most of these songs are under the four-minute mark, so they slam into your ears and do a karate kick to your brain. More of a Pantera-like thrashing goes down on 'The Executioner". I can also hear some Lamb of God influence on these guys. "Tempest" brings more speed to the occasion with pummelling double bass. The vocals begin to feel redundant by this point in the album. Though the riff is hookier to compensate. But vocals should not just be an afterthought. 

"Garden of the Grieving Mother" is marginally darker, but mostly more of the same, though very taunt in their attack. "Death Blooms" is a little darker, enough to convey the needed sense of malice to make me believe what they were doing for a minute. "Legacies of Dust' is a little more thrashy, though vocals are in the higher, almost black metal rasp. "Existing Beyond Death' has a decent verse riff, but it feels more like an idea of a song. I will give this album a 7, sure they are skilled musicians, but the best songwriters as everything grows redundant halfway into the album. 

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Death is June - Gates to Hell : "Death Comes to All"

 

This band from Kentucky leans more toward the metalcore side of death metal, but has enough of a Cannibal Corpse influence to keep die-hard death metal fans interested. The album came out in March, so just catching up to see what I missed here with these guys. The second song finds them slowing down into more of a groove. The vocals are recorded with an interesting noise gate on them, which keeps them extra distorted. They are big on the breakdowns, so if you have an aversion to those, take note. I like the first two songs, but to win me over for an entire album, they are going to need more atmosphere and dynamics. 

The riffs going into "Weeping in Pain" are more memorable, but it feels more like deathcore. The double bass is coming at you regularly as the rest of the band stomps into things.  There is more of a Pantera-like groove in a few places before they do wild, technical, syncopated sections. There is no question they are talented and can write a song, but how consistent is the key? When they speed up into a blast beat for "Next to Bleed," it does not feel that necessary.  '21 Sacraments' is where it feels like they are going to the well too many times and using the same tricks again. To a lesser extent, this is the case for "Sacrificial Deed." 

The title track has a much-needed more death metal feels, though that is not to say the crash cymbal does not get slapped around. "Crazed Killers" leans into speed perhaps more than needed. They take note from grindcore and keep the songs short, but cram as many riffs in as they can. By the time we get to "Locked Out," everything is beginning to sound the same to me. Their fetish for breakdowns is not helping this, as the formula gets more predictable. They try to thrash a bit on the last songs to mixed results. I like the use of samples on this one to break things up at least marginally. I will give this one an 8.5, as it might not always be my thing, but they made the album they set out to, and it is more death metal than most bands that do this sort of thing, which is worth something to me . This album dropped on Nuclear Blast.  

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The Callous Daoboys : "I Don't Want to See You In Heaven"

 

The album opens with a rather dystopian narrative that I appreciate. "Schizophrenic Legacy" is the first actual song that throws you into their bizarre progressive take on metalcore. While the screamed vocals are more dominant, Carson Pace's voice continues to grow. His poppy-sung vocals carry the need hooks to contrast the chaos. "Full Moon Guidance" is sonically similar to the first song, though it stylistically circles a more condensed range of metallic sound. "Two Headed Trout" has a more nuanced groove as it leans more into the pop side of their equation. There are some heavier punches toward the end of the song, but one of the album's more accessible songs. 

"Tears on Lambo Leather" flirts more with the core of metal-core, while jerking your neck out of alignment with the jarring math of the riffs. They deviate more from the formula; this album tends to use a blueprint, with lower death metal vocals sometimes providing an accent. "Lemon" shows how powerful the pop end of their DNA is, as it is one of the album's strongest songs. Lyrically, this album is interesting and is going to take a few listens to fully absorb. "Body Horror For Birds" is a ballad that pushes things further in the pop direction, almost sounding more like something Bruno Mars might do. I applaud them for having the ability and dynamic range to pull this off. 

"The Demon of Unreality Limping Like a Dog' is more metalcore in its stomp and circumstance. Closer to something that might appeal to fans of Knocked Loose. "Idiot Temptation Force' shows both sides of the band firing with equal power. They are marginally more spastic, snarling, and break down like riffs. Things go in a weird melodic direction for "Douchebag Safari". When they throw themselves back into the metal, it's a less predictable transition. "Distracted by the Mona Lisa" is a really fun song. Carson's sung vocals work well on it. It bounces with an almost radio-friendly glee. The last song might be a sprawling 11 minutes and feature Low Before the Breeze," adding atmosphere, but even with its three minutes of lead-in, they hit some memorable moments as the song unfolds. They jam out for the last minute,e making it a song that feels like they should close their headlining set with.  I will give this album a 9.5 and see how it grows on me. If there is any justice in the universe, these guys should be at least as big as Knocked Loose, just on the merits of songwriting.  

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Dead Rabbits : "Redefined"

This is a side project of Escape the Fate vocalist Craig Mabbitt. It leans into the twisted side of metal-core-influenced pop that bands like Pierce the Veil and Bad Omens dominate. You can throw Falling in Reverse in the pile of artists who share a similar style as the big-sounding glitch-driven pop rock, that is more aggressive in attitude than what the guitars are doing. "T/R/A/P/P/E/D" is the lead single with enough pop hook to make me want to check out the entire album. Craig's vocals lean in the direction of what sounds like he is trying to sound like a teenage boy. Granted, youth is the current this sort of thing connects with and certainly the target market. I hope they cover a wider range of sonic textures as the album progresses. The arena rocking the album starts off with is fun enough, but bound to run out of gas. 

By "Oxygen," up until the screaming comes in, they were beginning to sound like Linkin Park. Nu-metal is what this sort of thing is rooted in; some vocals are almost rapped, which is where they share more common ground with Falling in Reverse. Even the growled vocals do not make this heavy. Though for my ears, that is the point of what is going on here. "Crowned Clown" thumps with a grooving guitar that is dialed back to leave room for a more brooding vocal, which has a great deal of melodic appeal. The vocals were obviously the focus of their session and given the most love in the studio. There is a guitar solo that works better than expected in the last minute of the song. 

"Hellscape" seems more invested in being a metal song until the vocals come in on the verse. Despite the teenage vocals, the song is a little Stitched Up Heart's singerAlecia Demner and Wednesday 13 appear on the track.  They continue further down into nu-metal for "Mistake". It ebbs out of a soft to loud dynamic with the more melodic pop verse, building into an anthemic chorus. The emphasis on vocal hooks makes a strong case in their favor towards this approach. " Misleading" follows this formula as well. It works better than their attempt at a more thrashing attack that leaves them sounding more like My Chemical Romance on "Understand". 

"Redefined" works well enough."Meat HOOK" has more of nu-metal's hip-hop undercurrent. It has a catchy groove, so that works in its favor. "ConsPIRACY" closes the album. There is nothing new introduced; it basically sums up what this album is about. I will give this album a 9, as they excel at what they do and make it catchy enough for someone like me who is not really into this sort of thing derive some entertainment from it. 

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Your Spirit Dies : "My Gnawing Pains Will Never Rest

 The first three songs of this South Carolina band find them perhaps too eager to indulge their hyper aggression as they all run together. The second song is more of a straightforward in-your-face metal-core explosion that finds the band largely staying closer to the hard-core roots of the genre, as from dizzying guitar work that fins the riffs taking wild twists and turns The vocals take on more of a blackened snarl for a verse here and there which is the most metal moment, the tight breakdown style chugs are effective. "A Rose For Every Stone' has a little more flash in the riffage that sets the stage marginally different. It was the first clue after the first two songs blasted by that it all collided into my ears. 

One thing I can say about this sort of thing, is they do not put the breakdowns in the same predictable places. "In the Depths of Grief" does not introduce anything new and finds the band raging into the same kinds of temper tantrums they have been stomping around with for the first three songs. I could use more sounds and more dynamics, while I know some listeners of this genre are content with less and just want angry music karate dance to. There is a more Meshuggah-like tension to the chug that leads into "Monochrome" but rather than doing something cool with it that charges off in the direction this entire album seems to be heading. I think they are just doing a better job of attacking in this manner here. 

There is a little darker deliberate tone to the syncopated grind of "Born Forsaken".  "Shrouded in Silence" finds one guitar offering more melody that helps add color to a well-worn blueprint for this kind of thing that these guys play pretty close to the original designs that have been in motion now for at least 25 years in the post-Victory records era of Hard-core. 'Ritual Sacrament" finds the drums more frantic, as the guitar try to find a place to insert catchier riffs.  "A Snow in Summer" has more groove to it that works better for me, that is if they can keep things from racing away with them. The songs are typically kept under the four-minute mark with only two breaking that threshold., so they get to the point and cram as many riffs into them as they can.

The Melodic section to "Unjust God" is needed as the relentless chug was beginning to wear thin. Though when they kick in it pretty much follows the same formula that has dominated this album. This can pretty much be said of every song from this point on they are cranking as they fall into the same sonic pigeonhole. A melodic riff to break them out of it for a measure or four. Norma Jean is a fair reference point, but I don't think they are as dark or sonically textured as Norma Jean. I will give this album an 8, as they execute the songs well even if they are not covering any new ground here, but surely will mass some fans who prefer the more familiar sounds. 

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Spiritbox : "Tsunami Sea"

I really liked their 2021 album "Eternal Blue". It scored a 9.5, so that is a lot to measure up against, but the singles leading up to this highly anticipated album were pretty good. We hear many of the same elements employed on the opening track. While they are operating within the bounds of the post-djent metal core, there are enough interesting elements, like the more robotic vocal effect used on the verses of "Black Rainbow". However, I think it's the band's pop lean that helps separate them from their peers, as Courtney is better at vocal hooks than the singer for Jinger or Infected Rain, who work in similar sonic circles.  This is where a song like "Perfect Soul" finds them shining. You also hear the strength of their hooks on "Keep Sweet"  which is even poppier perhaps. 

Unlike most pop acts, there are no additional songwriters, much less a team of one. The most pop moment on the album comes much later on "Crystal Roses", though there are more rock dynamics in play. She toys with auto-tune as an effect rather than relying on it. The title track leans into melody almost to the point of being a prog power ballad. But it's still heavier than the new Dream Theater. Their drummer really fills the spaces with interesting playing that they build off of. "A Haven With Two Faces" finds the harsher vocals return after they have lured you into a false sense of security, as this song spills over from the more serene vibes of the previous one. 

"No Loss No Love" breaks from any notion of formulas this album has conceived and is where the album takes a more experimental slant and more electronic elements begin to creep in. "Ride the Wave" finds this taking them back in a pop direction, but to the band's credit, like their pop tendencies or not, they do not have a team of songwriters and producers coming up with their hooks for them, it's all Spiritbox. I am pretty picky when it comes to pop, so to my ears this is well done. With 'Ride the Wave," it does climax in a heavy explosion. It ends with "Deep End" which also touches on a more melancholic pop that shifts into anthemic rock. Since this album has more hard work invested in its writing than their previous album I am going to give it a 10 and see how it grows on me. I think they have found their place in the landscape of the music biz here, and we will see them get bigger than they already are. 

 

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Killswitch Engage : "This Consequence"

Metal core has changed since the days of Myspace. Can this band stay relevant, while working off a formula that went stale years ago? Playing faster and keeping things at a more frantic thrashing while going with the big melodic hook for the chorus where the vocal production sounds the same each time is the answer. At times some of the hardcore influence comes through at others it feels more like Slipknot, this only works for the first two songs, before it begins to all sound the same. Jesse Leach has a better hard voice than Howard Jones, whereas Howard possesses a more charismatic singing voice than Jesse. This affects the band's current sound and works off a formula established back during the decade of Howard Jones. 

At times it feels like Leach is singing under Jones's shadow, which is the opposite of when Jones replaces Leachadhad those expectations to live up to. If you wanted a band that embodied what kept metal alive during the Mysapce year these guys would be the poster children. It sounds like their successes are so invested in a formula that deviating from that would be too much of a risk for them, so they now clock in and just make the sounds they know will sell. The first song that I like is "Where it Dies" which takes on more of a groove. "Collusion" that follows it might not live up to "Where it Dies' but it's also a better song that does not feel like they are just punching a clock in the studio. 

 " Broken Glass" starts off with more promise. It is more deliberate, and marginally darker, though I think the entire album should be darker, the vocals at least take a different approach Midway into things, and it becomes a too-familiar undercurrent. "Requium' works better, as it carries more of a hook. The trash riff driving it is not the most original thing I have heard but the vocals balance things out with a catchier chorus. I will give this album an 8. I imagine they are somewhat limited by the exceptions of their fan base in terms of the formula that works, but this is too middle of the road. They are pros at what they are doing so the same ole same ole at least sounds pristine for radio-friendly metal. This dropped on Metal Blade. 

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JINJER : "Duél"

 

The band's 5th album finds the band not backing down. They gained a great deal of momentum, as more emphasis is being placed in the media on women in metal. They are also Ukrainian, so are watching their country being propped up by the US to have a proxy war against Russia, which sparks some of the ire found in the first song.  The second song is more deliberate and gives Tatiana more room to sing, though perhaps too much as the hooks of the first song stuck firmer in my ears. The angular metal core riffing driving "Rogue" took a second listen before I paid attention to it. Impressive technical ability trumps songwriting here as nothing sticks to you. "Tumbleweed" finds them slowing down and putting more thought into things, her ung vocals work better as the shock of her ability at harsh vocals wears off quickly. It would be more interesting if she was doing something different from what her male counterparts do. 

At this point in the album they have not changed my mind in the debate between these guys or Spiritbox As I feel the latter does this better, though "Green Serpent" finds JINJER put up more of a fight when it comes to this contest, Spiritbox has a new album dropping soon, so this debate will be settled soon enough. The vocal melodies here are just less consistent than what Courtney does. "Kafka" illustrates this while Tatiana sings with alluring emotion dropping into a smoother alto ranger, she is maneuvering around the winding guitar lines rather than establishing a memorable lyrical narrative, as I had to give the song a second listen to recall any of it. Perhaps if you are a fan of the band this is something you prefer. 

Progressive metal-core might be the most fitting label for this band. I do like how the guitar lines slither on "Dark Bite" and think her vocals work well here. Hardcore fans of this band might call me a "hater" of the band, which is not true, overall I am pretty indifferent to them as a band, I think a song like "Dark Bite" is what proves to me there is some merit to what they do. "Fast Draw" is less compelling and feels like whatever other metalcore band is doing., They bounce back with a more melodic moment for "Somebody's Daughter" I like the drumming on this one. Lyrically is a feminist lament, which some little girls getting into metal will be into. 

The interplay between the bass and drums has a machine-like precision on this album, which makes "A Tongue So Sly" churn with the fury that possesses this song. Though take the technical aspects out, and there is not a great deal of sonic storytelling, however, they did accomplish this on the previous song, so my theory of inconsistency stands true. The title track that closes the album finds them gaining both momentum and aggression but fails to connect with me, and just feels like a bunch of riffs are being thrown at me, and Tatiana is dodging them as she tries to sing in the spaces they create. I can hear her trying to inject more soulfulness in her style throughout the album so she is giving it her best shot. Like their playing his is a well-constructed metal album that sounds great in terms of how it was produced but seems like the chaos in their playing covers the fact they are inconsistent songwriters. I will give this album an 8, so it's better than what most are doing, but short of what we call great here. Out February 7th on Napalm Records. 

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As I Lay Dying : "Through Storms Ahead"

I never give these guys much of a listen. I think I was turned off by the fact they were being marketed as a Christian band, which they have come out to say they never were. They have less metal core than expected. Reminds me of Shadows Fall if the clean vocals are more pop punk. If that is supposed to be the core part, people will fall for anything. Very thrash-oriented riffing with death metal vocals on the verses. It works off a formula and is overproduced, but aside from that don't hate it. However, I do not hear the big deal either.  " Burden' feels like a generic version of this kind of Myspace metal.

The dudes from Slaughter to Prevail and Chelsea Grin lend their growls to "We Are the Dead". Heavier than the previous songs.  The vocals are well-produced by the guitars are a little thin and tinny for my tastes. 'Whitewashed Tomb" has more melodic sensibility to the guitars leading into the song. The riff itself feels a little busy to me and would feel heavier at half-time. The vocal hook is almost too polished. The title track works much better for what it is. "The Void Within " is back to the more predictable take on this era of Myspace metal. It is also when all the songs start running together for me. 

'Strength to Survive" is one of the album's more solid songs. It's melodic in a more classic metal manner. "The Gears That Never Stop" is just more predictable than the others. 'the Cave We Fear to Enter" is all over the place arrangement-wise. The sung vocals are not as hooky as they are supposed to be. "Taken From Nothing" is more guitar-centered. The vocal melodies are also too pop-punk for me . I will give this album an 8, it works well enough for what they are doing, and fans should dig it.

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Make Them Suffer : "s/t"

 The Perth-based band hopes to transcend the bounds of deathcore with their 5th album. It is a more polished affair, though the vocal growled vocals are still present there are more vocal colors in play, putting them alongside many of the more commercially minded metalcore bands who have risen in ranks over the past few years. "Oscillator" is pretty much nu-metal. Which works in terms of songwriting. This is the direction most of these bands are going, these guys are just doing it well with sun female vocals handling the hooks in an almost radio-ready fashion. It is hard to fault these guys for writing songs rather than beating you in the head, even if there is more of a mainstream formula in place. 

"Doomswitch" has the guitars doing progressive gymnastics with some of the fleet-fingered turnarounds. They jerk you around like a roller coaster, but it is not as catchy as the previous song. Once we get to "Managod" it feels like they are back to bouncing off more of a formula. It does have a groove and does not suck, but does not feel all that original. "Epitaph" hits with a wall of sound. There is no denying this album is well produced but almost produced too well for their own good. The sung vocals feel a little bright and a more organic production might have made this feel darker. It feels pretty bright and the lyrics are given a hopeful quality this kind of music should not have because of this. The electronic elements mixed in work well, but this would sound more industrial if it were done with more grit. Instead, we are getting Myspace metal. 

The female vocals lead into "No Hard Feelings" almost giving a more rock feeling until they dig into the pummelling.  She is good at adding a poppy hook to counterbalance what they are doing so nothing wrong with that. Here it points them in the nu-metal direction. There is also more rock in the drive to "Venusian Blues" Her vocals work best on this song as she is singing in a more sultrier lower register, so it takes some of the brightness out. "Ghost of Me" offers a more typical pounding, that is not unlike what Code Orange does when they are still playing just with a more core breakdown. There are sung male vocals on this one which is a different touch, though they are just a brief refrain. 

"Tether' has a strong vocal hook, but rides more of a metallic middle ground. "Small Town Syndrome" hits harder and still makes the most of melodic nuance. I will give this album an 8.5, not the most original thing, but they are becoming better songwriters. I think this is hard enough for their fans to embrace the change as they are more than likely already listening to this sort of thing. Drops November 8th on SharpTone Records. 

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The Oklahoma Kid : "Featherminded"

This ep starts off in a way that falls in the assembly of metalcore these days. It's a formula that has been in the making since the days of Myspace, with a few evolutionary changes over the years, though moving in the more poppy direction is the most unfortunate. The problem is when a genre is marketed as metalcore when the choruses hit as hard as the Backstreet Boys, it ruins the trust between, labels and the markets, as well as between artists and fans; This is not gatekeeping, it's about truth in advertising. 

The second song is a little more Linkin Park, though it does have guttural accents and more crushing breakdowns, but when this is only four songs you have to use all four songs to the best of your ability. The pace to "No Sympathy" might pick up, but when the chorus hits like some weak-ass emo pop punk, it tips the balance in the wrong way. I am a fan of sung vocals and even in hardcore do not need vocals screamed I think the first Life of Agony album provides an example of how this can be accomplished, and that album goes hard as hell. The poppy production and electronic elements are not a deal breaker for me as Candy uses those, as did Code Orange and that goes hard as hell, 

"Overpowered" finds them still wanting to be Linkin Park. Perhaps committing to being nu-metal might have been a more realistic option. Linkin Park is not a nu-metal band I like if I had to list my faves, but I think artists need to be more in touch with who they are and make music from that place rather than who they would like to be, as then it just creates music that sounds and no songs with truth or heart to them that you can feel. This album is just an empty product that is going to the wrong audience. They can play their instruments and have a feel for hooks despite them being often misplaced, so it's not total trash, but not for me I will give this a 7.

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