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The drumming is not exemplar nor exceptional, but it has indeed been finely played. It varies from a more typical technical groove style to intense blastbeating in the faster sections, as if the drummer wasn't decided between groove thrash drumming and death metal drumming. From a mile of distance, this may be the best drumming I've ever heard in deathcore, and it is superior to most metalcore bands.
The vocals are quite decent. Phil Bozeman manages to sound like an actual death metal vocalist very rare in deathcore and not like a melodic metalcore vocalist like on most deathcore bands.
The pearl of his performance is probably the song "Reprogrammed to Hate", arguably the heaviest song of the entire album, where Bozeman showcases a level of aggression never seen before in deathcore, fitting very well the song itself. However, there are also the weaker points such as in "Necromechanical" where Bozeman decides to growl "I am a machine! Overall, it can be said that this is one of the few good albums of a mediocre era.
This album is recommended to open minded people who may be interested in a deathcore album that doesn't come as an insult to the two genres implied in the term. Not recommended for diehard deathcore kids who are in desire for br00tal breakd0wns and diehard death metal fans who may be displeased by the band's general focus on groove over speed.
If you're somewhere in the middle, it won't hurt to give it a listen. And now to album number 3. Whitechapel seem to have finally found the sound they're comfortable with. While the brutal deathcore traces are still there, the band also seem to be taking on a lot of influence from bands like Meshuggah, including bringing in 8 string guitars.
They seem to be trying to escape the deathcore label they've had since the start of their career, and they're doing a damn good job of it. This is their furthest album from deathcore. The record isn't stuffed with as many breakdowns, and Phil Bozeman has even stopped dropping "fuck", "shit" and "piss" whenever the band start to play one.
The riffs aren't those melodic ish mid-paced deathcore riffs from before. They're much more groovy and technical. The riffs are a lot slower, without going into non-stop breakdown territory. Imagine a mix between Meshuggah and newer Acacia Strain. Once again, there is little to no bass presence in the music.
I really want to hear Gabe Crisp playing some time soon. Phil Bozeman has almost completely abandoned his incomprehensible gurgles in favor of his mid-ranged grunting. This means you'll hear his lyrics much more often than before. However, this isn't much of a good thing, as his lyrics have hit an all-time low. Some of them are just plain cringe.
While Bennett contributes very little, Moreno provides an entire verse of his signature high pitched shriek, before performing a duet of sorts with Phil, where Phil performs a low growl that wouldn't have sounded out of place on "Somatic Defilement" to go along with Chino's screeching. The drums are impressive, as usual. Blast beats aren't as common, with a lot more polyrhythms to go with the newfound Meshuggah influence.
He still knows how to throw in a good old double bass frenzy when he needs to, and the drums are perhaps the best element of this album. The biggest problem? The first 5 tracks are the best ones. The band blow their load way too early, and the album takes a huge dip in quality after End of Flesh.
You do NOT want to start your album off with the best songs all clumped together. You want the LAST 5 to be the best, or, even more preferable, you want an even mix of the brilliant tracks and the not-so-brilliant tracks. Overall, it's a good album, but it's far from their best. I'd avoid this until you've listened to at least This Is Exile, which serves as a much better introduction to the band.
Recently, I decided to check out many deathcore bands a friend of mine recommended. Except for JFAC which were the worst , all the bands sounded like exact clones. So did this album. It's not that it sounds bad. It's just that, well, it sounds too forced. Some of the songs stand out and manage to get stuck in your head like ''breeding violence'' or ''the darkest day of man'' the best song from the album.
All the instruments sound perfectly arranged, with audible vocals. The main problem is that the whole thing doesn't sound original at all. Some claim this is the new sound of metal today, but it actually sounds like watered down, ultra soft brutal death metal. This is actually very ''br00tal'' or ''brewtl'' , perfect for your average scene guy who just got into metal last thursday. However, this sounds very bland and lacks something that makes me headbang or want to mosh, in the same vein as Slipknot or Korn, only with more breakdowns and even cleaner production.
What I can tell from what I've listened Whitechapel pretty much all their albums, being ''This is exile'' the most decent one is that they have always sounded generic and manufactured, and unfortunately with this release they made no exception. C'mon people, metal is not just breakdowns or playing downtuned guitars. Music goes like this. Pretty much the whole album is made with chugging guitar riffs, half-assed guitar solos and computer sounding drums.
Some songs manage to be very catchy. Same with ''breeding violence'' and ''reprogrammed to hate'', which create a dark atmosphere, straight from the darkest corner of your local mall.
It doesn't mean it's bad, it's just very teenager oriented. Also it's very important to mention the bass is, as expected, unaudible. The deep sound is there, the low sounding guitar is doing its job, but it doesn't stand out, it's just there. Now for the lyrical contentm here's an example: How the fuck could anyone believe the truth When the religious fools have endless prophecies Bring it all down to an end I find it amusing when you think it all makes sense I have the solution Bring it all down to an end Maybe it's just me, but I find the use of curse words very childish, as it makes the music much less aggressive.
Might as well just apply the Slipknot formula of fucking-shit-motha-fucka. It's still entertaining and somehow tolerable, just like the bands I mentioned before. But after a while it gets really boring, since you heard the same thing thousands of times before. Whitechapel are the creators of one of my favorite albums of all time, and as such I keep a close eye on them.
I was very disappointed with their album This Is Exile , so I was hoping this album would be a return to roots. I wasn't even close in my prediction, but on the other hand, I do enjoy this album As the latest trend seems to be, Whitechapel have come to the conclusion that deathcore is a dying genre, and as a result have created an album that is essentially a death metal album struggling to let go of the deathcore genre entirely, and only half-succeeding.
However, unlike Carnifex's and Job for a Cowboy's death metal transition albums, this one succeeds in that it not only eliminates most of the deathcore influence, but at the same time doesn't sound boring or confused in its direction or presentation. The album's most prominent change from Whitechapel's older work is the new guitar direction. It is much heavier and grooving than the band's older guitar sound, and there is a lot more emphasis on the slower side of the guitars. The majority of the guitar work is rhythmic chugging, which is just about the only thing that still serves to identify Whitechapel as a deathcore band.
There aren't really any fast parts on the album; as I've said, there is a lot of chugging. For the people who dislike deathcore, however, you'll be happy to know that there aren't any true breakdowns on the album at all.
The album also incorporates many more melodic sections than Whitechapel's older works, and they dominate the songs "End of Flesh", "A Future Corrupt", and "Prayer of Mockery", as well as the chorus of "Devolver".
You'll also find guitar solos in a few of the songs, such as "Reprogrammed to Hate", but they feel generic and boring, feeling more like bad extensions of the melodic leads than solos. The bass guitar is sometimes audible through the blasting of the three guitars, but not often. Phil Bozeman has improved his vocals from This Is Exile , which is no small feat, given he was the only member giving it his all on that album. As he has stated in interviews, his main goal here was to use more diction to make his lyrics more interpretable, and it has definitely worked.
You can understand a large majority of the words without looking in the lyrics book at all, and at the same time his voice is more guttural than it was on the previous album. The vocal execution is also very forceful read: not forced , and he delivers the lines with extreme vehemence. His highs, on the other hand, haven't improved much at all, if improved they truly have. They have a bit more emotion added to them, probably because of the added diction, but I still dislike the overall presentation of the vocals because I've always enjoyed Phil's emotionless screams in the past two albums.
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