Being that we’re about seven years into the hardcore generation, it’s extremely rare to hear satisfying breakdowns nowadays without thinking of where the band ripped it off at. “Murderer” kicks it off with an absolutely sick breakdown that utilizes both the drums and guitars trading off back and forth to create a behemoth, which streamlines perfectly into the metalcore-ish verse that has death metal double bass shaking the ground beneath you. Brook is growling at his all time best, which was previously thought impossible after the last album.

Going almost straight death metal for the next track, “For The Wicked” will put the –core haters to shame with their eclectic and unique blend of death metal and deathcore. Rapid drums keep this track going where it needs to go, the guitars just give off such immense energy, and Brook’s vocals is the blood that keeps this monster alive and conquering. “Giving birth to evil / From the womb of hell” pretty much sums up the direction the lyrical direction of the track, along with “Beware of the mark of the beast.”

Every track brings something new to the table, and “Falling Away” is no exception. It’s a more straight forward and basic song done in metalcore fashion, but with lower guitar tuning and blast beats with a few sweeps here and there thrown in for good measure. The breakdowns are really heavy and are not just basic chugs. They pave the way towards the verse sections of the song, showing a more progressive element in their song writing that ninety nine percent of bands these days are missing.

The biggest surprise of not only this album, but of their career, is the track “My Light Unseen.” It’s (believe it or not) a slightly alternative metal song that features Ryan Clark from Demon Hunter using cleanly spoken vocals that are simply stellar. Although it’s unprofessional to add a personal note, I would love to see them make more songs like this. The man can sing. The guitars are slightly ominous and, at times, drag out a little to doom metal standards. Overall, this is a standout track. For some reason, it’s listed on iTunes as an instrumental, but it’s really not.

Impending Doom seems to completely reinvent themselves for every album. If one were to listen to their albums back to back, you would have to check and make sure it’s all still the same band. The last track mentioned in this review proves this fact even more so. Solid effort from one of the premiere chug-and-chug bands in today’s over-saturated breakdown scene.

This 11-track onslaught demonstrates a much darker side for the band, if that even makes sense. Lyrically, it touches on personal subjects important to each member internally as well as relatable subjects such as hopelessness and failure; ones we can all relate to. This comfortable balance creates a nice pocket of self-discovery for those that are seeking topics to find comfort in, making it easy to not feel overwhelmed by one subject matter.

The record takes off with “Morpheus”, an instrumental piece that briefly, but swiftly, contains a grimy calm before the supernova that is “On Wings of Integrity Pt. II”, the sequel to its brother “On Wings of Integrity” from Unbreakable, takes off. In the same fashion as its predecessor, there’s no stopping it once it has begun. Full of catchy one-liners like “The crowds will gather just to watch us burn!”, MCMB has obviously not lost what they began with. Pretty much every song follows this format, fading in and out of utterly maddening chaos with buttery ease; but keep in mind that although this is a chug-fest, each track stands on its own thanks to impressive melodies, noteworthy moments, and pure adrenaline rushes I’ll bring up later.

“Anathema” really takes things to a new level of brutality, with one of the most crushing breakdowns they’ve ever performed sitting right near the middle. The transition from stop-to-destroy could have been smoothed out a bit in terms of the flow, but the strength it brings is too hard to ignore. “God of Nothing” easily stands out in general, from it’s beautifully whispered and horrific introduction, to the mass hysteria of aggression that vocalist Matthew Hasting lets out of the bull-pen. The man has a lot to say, and he will curb stomp your ear drums to make you hear it. “The Endless” which follows right after also stands out, because from first impression graces over the death of a motherly figure, and how difficult it was to get through it. It is a truly heart-wrenching song that doesn’t stop for the slightest hiccup of breath until you’re asphyxiated.

At this point, they’ve made tremendous progress in their overall sound; even songs that fit smaller on the bill (SAMCRO, Dreamcatchers) still manage to stay grounded and follow suit with the overall “Blair Witch Project” vibe this record (even going as far as the album artwork) has going on. “Black Cloud”, which encompasses exactly what its name represents, is a bleak and visceral representation of how dark this band can become. The whole song is an adrenaline rush, opting for the psychosis ridden introverted hay ride from hell, with a man (AKA your subconscious) and his bloody chainsaw at your heels the entire time.

Taking a second in between songs, I reflected on the positive feeling that can result from such destructive music, and why it’s so cathartic for so many people (like myself). That’s a whole topic of its own, but I digress when I listen to music of such attitudes. “Hell or High Water” is such an anthem of its own mentality, which is hell-bent on promoting positivity, justice, and pure equilateral acceptance for mankind. It is sure to strike a chord with many of their followers.

Nearing towards the end, “Observer” and “No One Listens, No One Cares” almost feel pessimistically contradictory to the enlightened spirit the record carries, but that’s only because it is buried under the aura of dirt and gravel. The whole mindset is still encompassed, but it’s just six feet under the earth. Even as the latter track closes out; MCMB’s goal of cleansing your mind may be accomplished by means of a rusty pickaxe for decibels and content, but by damn it will be.

It took me many listens and repeated opinion-rethinking to properly form my overall judgement for this band, but with the assumption of sounding judgmental, I wasn’t. This band, for their goals, attack, and maturity, has released a record that is surely bound to affect many lives in positive ways, and because of that I respect them so highly. Let me put it this way – the combination of music and message is integral to their survival, and they will live to inspire many more people because of this record.

At this point, you (if you are a frequenter of this genre of music) are probably sitting in your chair thinking how easy it is to duplicate the metalcore sound. There are handfuls of bands with a sound so similar, it is nearly impossible to tell one from the next. I agree with this presumed thought, but TDWP have qualities that are distinctly theirs, and I never thought I would see the day that they were almost duplicated.

This replica, the Land Ho! EP, starts with a song that has a completely disconnected yet giggle-worthy title (first sign of bands like TDWP), “Ladies and Djents.” If you’ll recall a certain song done by a certain band entitled “Spongebob Grindpants,” this intro track is comparable.

While Aye Aye Captain and TDWP seem similar on paper, they are actually very different. For instance, the clean vocals are more similar to a band like Sleeping with Sirens, or old ! on a good day, and the screaming could use a little work with different tones (although, Mike Hranica of TDWP stuck with the same pitch for albums). The lead guitar work is also very sub-par. A lot of the tones are either too much or do not seem to match up with the rest of the song, and the riffs seem very rough and unpracticed.

For a band just starting out in this genre however, they are showing signs of potential; it will either get worse or better from here. They have the right idea, and solid attempts with an overall good sound – it just needs to be slightly more polished.

We’ve all heard this sound before, so what have they done to spice it up? First off, notice the tone of the guitar work. They’ve avoided the use of 7 and 8-string guitars, a trend increasing in steam as progressive metal strays further and further from the norm. It stands out on its own, and grants the group a sense of originality in their work. The record opens with “False Profit,” a perfect concert opener – especially with the catchy one-liner “I am not a king/and you are not a prophet!” Everything you heard from their last record These Are My Sins is back from the start, but with a touch of growth. The melodies are stronger, the breakdowns can actually hold their weight, and with the introduction of clean vocals they are really trying to break new ground. Take the next track, “The Beginning,” as a reverb-caked sung chorus adds that dynamic they were missing. Albeit trendy, they have their style figured out. A lot of the songs on this record are definitely anthems, ready to pump you up with intellectual lyrics and aggressive nature. “Bruised & Broken” follows the same format, taking a noteworthy stab at the concept, fortunately proving to be more of a hit than a miss.

Moving onward, “Mentalist” has a beast of an opener, letting the finger-flexing guitar work speak for itself. It also features Micah Kinard from Oh, Sleeper, who has the ability to shred-ify any breakdown. “Meaning (Victory)” has an eerie interlude that leads into a terrorizer of a breakdown, one of the more notable ones on the record. This song in particular shows their ability to work as a unit, and more importantly has each member contribute his own intricate piece of material. Also, if you’re familiar with this band you know their strong presence of Christianity in their lyrics. Their passion for that has taken a leap forward, clearly conveying their message in the intended manner. “Lunar” is an interesting piece, because it is an instrumental similar to “Meridian” by August Burns Red. It is incredibly heavy and melodic, but doesn’t need vocals to bring the walls down. This one sits as one of my favorites, just because it’s a ballsy thing to do – and they succeeded. Make sure to check that one out.

The latter half of the record is a straight up blitzkrieg, and doesn’t stop until the very end. “Knights & Pawns” makes use of clever programming, while “Judgment” relies heavily on fast fret-work to make its point. Either way, think of it as foundation. This band relies heavily on their live performance to really hit home, and with these songs at the forefront they’re sure to stun many with such a blistering ride. “Rephaim” and “4.12.11” each have their own unique quirks, and that’s what makes each a cohesive listen rather than a sloppy one. The latter tackles the topic of death and its ability to not make sense; luckily the resolve is positive and ends the record on a bright note.

I, The Breather have shown giant steps of progression since their inception, and the great thing is they still have a long way to go. Did they avoid the sophomore slump? Absolutely. Could it have been better? Absolutely. This album has enough spark to go a long way, and if they head in a more progressive direction these guys have the potential to really drop a breath-taker next time.

Except Caliban isn’t at all and that’s not the association worth worrying about. One minute into “We Are the Many” and you are absolutely blown away. This isn’t what you expect at all because it’s heavy as shit. Look at the album cover. Does this look like peace sells? The screaming is so guttural and keys make appearances for an atmospheric effect that few bands achieve bit hits on. Mitch Lucker of Suicide Silence does backup vocals.

Rrrrrrrp. Hold up, what?  I thought this was metal. The thought of Suicide Silence makes me want to puke then look at it and say, “Mmm dinner,” just as long as I don’t have to hear them again. What is even worse is that Caliban tours with Attila (throw Black Veil Brides in the mix?). So honestly, what gives?

Caliban is without question better than those bands. It’s, shall I say, realistic compared to those Kiss wannabes. Likewise, as this is Caliban’s eighth studio album, I Am Nemesis is different from previous efforts. Gone is the simplicity and added are atmospheric guitar melodies that don’t make you wonder about its heaviness one bit. If you need proof, check the rhythms of “The Bogeyman” and “No Tomorrow” as well as the lyrics, which deal with lies, fear, and loss of control.

Truthfully, I’m not comfortable with the metalcore term for Caliban because there are elements from a plethora of metal subgenres – yet this is the closest. I mean aside from “Edge of Black” which is straight up core-tastic, if you’re unfamiliar with Caliban this sounds more like Meshuggah or Lamb of God. Though it’s worth mentioning that “Memorial” achieves clean vocals at one point to successfully pull off what is metalcore to the highlight of I Am Nemesis.

While some misplaced cussing and intricate guitar parts fill up the bottom half of the record, “Modern Warfare” goes out with a blast- a metallic meets technical blast. And remember they throw a traditional German sound on top. At this point, genres are damned.

So despite the rather nasty associations, I Am Nemesis is worth checking out because it has zero relation to its relations. Unfortunately that’s how they can go missing. Ditch ‘em, go rouge and go metal.

Yeah, I listened to Hopes Die Last’s Trust No One and enjoyed myself. My defense is as follows:

Just as long as you’re not taking this 1000 percent seriously, Trust No One is fun. Fun like Andrew W.K.’s usage of wearing all white. Fun like smashing a beer can against your head because Every Time I Die made you do it.

And the context is this is an Italian post hardcore band formed in 2004 that prepared to dodge a sophomore slump. Indeed, they avoided the trap as last week’s release of Trust No One is (for them) considerably heavier yet still retains that vocal style of guttural meets actual singing. After all, nothing says “Happy Valentine’s Day!” like a bloody zombie child on the front cover.

Now ultimately this proves that whether you mildly like hardcore or like seriously heavy music, there is something for everyone, especially in the beginning half. “Never Trust the Hazel Eyed,” “Sidney Shown,” and “Life After Me Life After You” aren’t all that different from say August Burns Red. Hopes Die Last even makes use of an early record instrumental. Rarely instrumentals make use of instruments, preferring that boring one note technique which is a.k.a. “we didn’t have a bridge.” Without “The Blue,” this record may become way too -core, so props to the skillful appropriateness.

Admittedly, the middle is filler. It’s like okay good enough filler until it becomes utter filler, except for a gem called “Firework.” Secretly you may wonder, “Does this mean the Katy Perry song?” Why yes, yes it does. And if you can’t laugh and have fun with a metal-injected pop song, then go stand in the corner and continue to be the turd in the punch bowl crossing your arms (we’re having a party over here).

But there are songs that certainly can’t conjure up excuses because it sounds like another band is performing them. Awkward and boring is “The Same Old Fears” while “Keep Your Hands Off (feat. Nesko)” brings in what’s popular with the kids these days a-la Korn and Skrillex combination.

I know, I know, the dreaded word: metalcore. But this headline shouldn’t shock you; it isn’t going anywhere anytime soon so condemn some of it and have fun with others like Hopes Die Last. Basically if you feel like you can’t even beat ‘em, then you probably already joined ‘em. Even at the risk of bringing in one cornier element of pop culture…I don’t listen to metalcore often but when I do, I’d choose Hopes Die Last. Now go listen to Slayer.

This album exhibits many of the popular traits found in recent metal bands, such as punk beats and the combination of clean yelling and screams (see Woe, Is Me’s “Vengeance”), while also somewhat containing a more mature version of the Attack Attack! found on their self-titled album, and leaving the overly auto-tuned lifestyle behind. This Means War is an incredibly heavier than anything they have done in the past; if Someday Came Suddenly is what you are looking for, this is not it. “Bro, Ashley’s Here” and rap-inspired intros are a thing of the past, and say goodbye to “crabcore” Attack Attack! and hello to 2012 Attack Attack!.

Everything is good in moderation. Everything, being the code word here for punk beats, which are, in my opinion, only decent for a couple songs per album. Once you pass the four-song mark, back to back, it’s time to move on and learn a new pattern- unless the goal of the album is to gift listeners with a headache and high blood pressure.

At or around track four, “The Reality,” you will start to wonder, “have they almost completely done away with the synth?” in which case, the answer is: most certainly not. That ever-so-familiar sound creeps back into their songs starting with the breakdown two and a half minutes in, and from then on is not a stranger to the album, with their signature sound being most present in “The Motivation.” Another unfamiliar happening for the band is vocals completely void of auto-tune – and Caleb Shomo has talent! Though some of the songs have vocals that I consider corny in the slightest way possible (listen to “The Abduction”), overall the pros outweigh the cons, and if clean vocals do not interest you, they are a rarity on the album anyway.

So to clarify the answers of the initial questions, This Means War is most comparable to their self-titled album, but not completely comparable to any of their previous work; the synth included in the album is just enough to satisfy any former Attack Attack! fan, and not enough to peeve any non-fans (speaking of fans, I still consider myself one); and lastly, the world will never know why it takes so long to download albums.

When I spin an album for the first time, I almost expect that kind of “perfection”, and when I reluctantly hit play on English metal band Archetype’s first track “Tinnitus” from their EP, simply titled, well, E.P., this was definitely the case. What blasted through my wonderful Macbook Pro speakers, however, was muddy, distorted, poorly produced brilliance, and I couldn’t be happier about this fact. Archetype represents the theory that production simply isn’t everything, and at some point, you have to rely on good, old-fashioned talent to make a moving, cohesive piece of music, which is exactly what E.P. manages to be.

“Tinnitus” the explosive opener, displays the band at their finest, mixing sounds of The Chariot and Glassjaw together, while successfully creating their own authentic sound that is both powerfully insane and intricately melodic. “Desolate” follows this same pattern, but features a fantastic vocal delivery from Bean Mckinlay, who’s able to expertly shine on both clean and unclean vocals. The musicianship on “Bada Bing” is staggering; the drumming from Nathan Garratt, fueled by the all-over-the-place guitars from Tommy Snowden and Ali Stacey is a marvel in itself.

E.P. is definitely over before you know it, but it simply demands replay after wonderful replay. The production (I obviously enjoyed the rawness of it) may throw some people off, but it’d be a shame for any metal or hardcore punk fan to turn away from this album because of that alone. After all, this is only the first building block being set in place, and the band has already found a method that just clicks together so well. Archetype may be young and new, but with a few tweaks and a decent producer (I’m aware you need this to succeed and reach a larger crowd, unfortunately) they could really blow up here in the States. Even if this is not their eventual goal, I’m a better music listener for having found Archetype. While they may not be perfect, it’s the imperfections that bring out their greatest quality: unfiltered, unlimited, good old-fashioned talent.

This record hardly gives way to slow down, because each track escalates further and further, cramming technicality and meatiness into breakdown after breakdown. If you’re familiar with bands of this nature (Oh, Sleeper/Betraying the Martyrs/Our Last Night), then you know what to expect. Now, because this genre is so black and white at times, this type of music is either done well or done badly. You can breathe a sigh of relief LMTF came out on the better side with this freshman full-length.

Starting with some surprisingly well-chosen orchestrated strings/programming, the album explodes with opener “The Worst In Me.” From the get-go, you know what you’re in for. When the chaos ensues, the assault it was intended to create rises to mountainous proportions. It is full of bass, technically exasperating drumming courtesy of Lance Greenfield, and Chris Roetter’s shredding calls for help mixed with near pitch-perfect cleans. The melody in this song sets the tone for the record; it’s dark, vicious, and reeking of empathy and aggression. “GNF” continues the trend, with a monster of a “fuck you” track. I was pleasantly surprised upon hearing Danny Leal from Upon a Burning Body come out of the woodwork with an intense “I don’t give a fuck/about the way you’re feeling!” Guest vocals are always nice, especially when they are done correctly.

Third track “No Hope” is just as rigid as the previous two songs, trading blow for blow with the furious breakdowns that layer its formula. Unfortunately, like a few of the songs on the record, it just doesn’t stand out. “You Won’t Be Missed” contains one of the stronger clean vocal choruses, almost worthy of Roetter’s old band Emarosa. “Faithless Living” is one of the strongest songs altogether, constructed with passionate vocals throughout, and a tastefully done breakdown near the end. If you’re a fan of their Sweet Talker EP, you’ll be excited to know that “Real Talk” and “Your Existence” made it on here as well. How did they fare? Well, they’re about the same, except with tightened arrangements and more promising vocal work.

Heading towards the second half of the album, there is no stopping this train once it has gotten this far. “Trophy Child” boasts some of the heaviest moments altogether, but that is debatable because all metalheads have different tastes when it comes to what they consider “heavy.” It all culminates into a tumultuous two-and-a-half minutes of urgency. “My Own Grave” is a song of panic and angst; the vibe that holds its harness is astoundingly dark. This record does have deeper intentions than it first exudes, but you have to let it grow on you for it do so. “Something to Live For” and “Praise Feeder” go out with a blitzkrieg of sound and decay, but there is something oddly reassuring about reaching the closing passages of the album. You know what that is? The fact that there is no slow burner/acoustic track to divide the speed and mood. That is something we’ve come to expect from most metalcore bands, and that result is strangely gratifying.

For a band so young, they’ve taken the craft of relentless chaos to the standard the industry has been calling for so desperately over the past few years. So what should the next step for this five-piece from Ohio be musically? Variety, sparseness, and the art of surprise. This album is solid and they’ve got the chops, but if they want to have a chance at being more than subtle mediocrity, they will have to take the next step.

The album carries an almost solemn tone from the beginning of destroyer “The Life.” It is so ferocious from the start that the blistering pace it sets is almost too scary for its own good. Vocalist Andy Atkins has further perfected his guttural growl, reaching inward to conflict all of his demons, coming out wretched but hopeful. The natural growth in their ability to create the eeriest of melodies wrapped in walls of sound, such as in “Music City,” is unnerving.

Third track “Heart of A Child,” like the tracks that precede it, is very intense. I find myself intrigued by their clever use of thick/sludgy strumming, and the bulldozer of depth that erupts from it. The sound is never shallow or thin, and that shows the ingenuity behind the production. “Miss Fortune” takes the knob down several clicks, showcasing bright tones and somber vocals before heading into yet another exploder called “My Song.” Lyrically, it’s easy to see that these tracks range in topic and content. “Music City” is clearly about passion, while “My Song” and “Room For The Dead” share the theme of standing up for oneself.

Changing direction, “Skin & Bones” and “Hands & Feet” are the game-changers rallying against what you’d expect here, considering they’re acoustic numbers. Both are done extremely well, and the instrumentation demonstrated in both is as gorgeous as it is haunting. Both carry that prevalent somber tone mentioned earlier, but now that they’ve done this, they can no longer be pigeonholed. A good example of what I mean is the band My Epic. They have clearly shown with their last two records Yet and Broken Voice that you can be heavy but minimalistic when introducing acoustic elements, and they pulled it off flawlessly. This will indefinitely open up new doors for the band, and where they could take it from here is intriguing.

The last three songs on the record take the remaining fury and collapse into a metaphoric jack-in-the-box. The abrasive grit that prevails, the clamoring desperation shredding from Atkins’ vocals, works. It just works. “Living The Dream” takes apart any chance of slowing down with this crush-fest of a track. “The Death” is just as powerful, but falls more into the field of the slow burner. The clean vocals that carry this song’s creepy melody are chilling, especially when Atkins is screaming ‘The world is on fire!’ Part three of the remaining trilogy, “The Setting Sun,” is that melodic work of art that you’ve been waiting for. It closes the record with some of the most gorgeous harmonies, and again it’s something you wouldn’t expect from a band like this.

The metalcore genre is a lot like the DART bus in downtown Dallas – crowded. Thankfully, when a band such as A Plea For Purging steps out of their comfort zone to create sonically the best record of their career thus far, you can’t help but feel a bit of relief. The irony in the record’s title also speaks volumes, because if this was their magnum opus, then they will go down with one of the better records of the year under their belt. Bravo guys, bravo.