Impending Doom - "The Sin and Doom Vol. II" Review

     Impending Doom has been a prolific deathcore band throughout most of their career, but The Sin and Doom Vol. II, the band's sixth studio album, marks the longest gap of time between the band's releases.  After back to back albums in 2012 and 2013 (Baptized in Filth followed by Death Will Reign), there has been a silence of almost 5 years.  A lot can happen in that amount of time -- some bands break up, some change their sound completely, and others cycle band members.  However, Impending Doom is the same band that they've been for a decade -- they play fast, heavy hitting deathcore with uncompromising, Godly lyrics.
     The Sin and Doom Vol. II sounds fresh; while the band harnesses the same sound and energy on the surface, there is something energetic about this album that I haven't felt since There Will Be Violence.  Front man Brook Reeves is the face and backbone of the band, growling and shrieking with enough passion to scare the demons out of hell.  Longtime guitarist Manny Contreras (Sleeping Giant, Bleeding Through) is accompanied on his shredding with rhythm guitarist Eric Correa.  Brandon Trahan makes magic with the drum kit while bassist David Sittig keeps the band centered.  The Sin and Doom Vol. II displays Impending Doom at the top of their game.  Apparently, deathcore is not quite dead, even in 2018.
     On to the music!  The album begins ominously with "The Wretched and Godless," with vague apocalyptic noises that blossom into a shattering death metal assault.  There's some operatic singing in the background that is barely audible, but it serves to give the song an end-of-the-world feeling.  Then it's on to "Burn," a more rhythmic track that is reminiscent of material from The Serpent Servant.  Near the end of the song, the band executes a gradual tempo change, demonstrating that they've been working on their musicianship during these 5 years.  "War Music" launches with distorted guitar that catapults into patterned drumming.  There's an obvious hardcore feel to this particular song, and Trahan simply slays with the drums.
     Song number 4 is pure EVIL.  No, really -- that's the name of the song:  "EVIL."  It's a signature Impending Doom track, with enough blast beats and breakdowns to satisfy even the most enlightened purveyor of mosh pits and hardcore dancing.  "Paved with Bones" is an unrelenting and furious slab of death metal.  The advantage of having multiple guitars can clearly be seen on this track, as the two musicians face off with dueling riffs. 
     Take a deep breath.  We're past the halfway point, with even more crushing death metal to experience.  "The Serpents Tongue" is a short, violent song that dips the band into mediocrity for a few moments.  But the band is back on track with "Unbroken."  There are some djent influences on this song, which surprised me a bit, but they don't overshadow the band's core deathcore sound.  If "Devils Den" doesn't get your heartbeat up and your fist pounding the air, then you might want to check to see if you're still among the living.  Reeves sells this song with his passionate growling:   "Slaughter the demons that are crawling on my brother's back!"  "Devils Den" is the heaviest song that the band has written in a while, and even if it isn't "Nailed. Dead. Risen," I'll take it.
     Two tracks remain on The Sin and Doom Vol. II.  "Everything's Fake" features some unique guitar work; accompanied by the drumming, it gives the song an almost frantic feel at times.  Reeves also drops his voice into some low, guttural sections that make the hair stand up on the back of the neck.  The album closes with "Run For Your Life (She Calls)."  The beginning of the song doesn't really feel like Impending Doom.  It's almost too upbeat.  However, as dark clouds gather on the horizon and thunder peals, the band that we all know and love emerges.  Heavy hitting drums and fast guitars light up the stage as Reeves growls his heart out one final time. 
     The Sin and Doom Vol. II is a solid deathcore album that shows that Impending Doom is back and stronger than ever.  A lot of people have forgotten about this deathcore titan, but do yourself a favor and rediscover them with this new material.  While The Sin and Doom Vol. II isn't the album I necessarily expected in 2018, as the deathcore scene is much reduced from what it was years ago, it's a blast of nostalgia that doesn't stop pummeling your ear drums until the final note fades away.

Rating:  8/10

Becoming Saints - "Oh, the Suffering" Review

     Becoming Saints wear the label of metalcore on their sleeves, but their debut album Oh, the Suffering boasts moments of melodic hardcore, metalcore, and post-hardcore.  These elements all weave together to create a diverse record that unapologetically grabs the listener by the throat and hurls them into the most pit.  Moments of melodic intensity appear between the brutal breakdowns, and in the tradition of the spirit-filled hardcore bands of the late 90s and early 00s, Becoming Saints is a band that is as much about the message as they are about the music.
     With an EP under their belts already, Becoming Saints doesn't waste any time, but gets right down to business with the first song on Oh, the Suffering.  The strength of Oh, the Suffering is felt in the opening two songs.  "Built for War" hits heavily and lingers, and its melting pot of stylistic choices are reminiscent of Onward to Olympus' This World is Not My Home.  The ending of "Built for War" is stunning.  An anthemic clincher segues into a creative breakdown that perfectly juxtaposes against a slamming bass riff.  In fact, if more bands created breakdowns in this manner, the current hardcore scene wouldn't be so dull.
      It's unusual that I'm able to compare a song to Life in Your Way, particularly because that band has constructed a unique and fresh version of melodic hardcore, but the dueling sung and growled vocals on "Push and Pull" definitely give off that vibe.  Unfortunately, the band begins to slip toward mediocrity with the song "Lost."  While the chorus is solid, the track is brought down by generic breakdowns.  Even crushing vocals from Living Sacrifice legend Bruce Fitzhugh barely pull this one out of the mire.  I'm sure that the breakdowns are more invigorating live, but in the end they are the Achilles' heel of Oh, the Suffering.
     "Oath" is an adrenaline-soaked rendition of hardcore with snippets of melody that offset the more brutal portions of the song.  "Mother Teresa" features spoken lines from the miracle-working lady herself and serve as an interlude on Oh, the Suffering.  Unfortunately, it's difficult to understand what she's saying. 
     "Vox Mortem" is a warrior's anthem.  One conjures up an immense Viking warrior, his great red mane flowing in the wind, his bulky frame overshadowing lesser men.  With one stride he clutches two of his enemies together; with one swinging motion he crushes their skulls in his callous hands.  Then it's on to "Unbroken" and some stellar riffing by guitarist Kory Olson.  The atmosphere in the background of this song creates an almost epic feel, and parts of it draw influences from Soul Embraced. 
     "This Heart Yours" is plagued by too many breakdowns; even so, it boasts one of the best choruses on the album.  Ready for another sonic break?  "De Paso" is an instrumental that shelters the listener from the ravaging gusts of the world.  The spoken passages on "My Fall Your Gain" create a somber mood.  These lines transition into a soaring chorus that is filled with passion and panache.  You can really feel the intensity of a focused group of musicians on this song.
     "One Shot" is exactly that -- a bullet straight to the chest, one that knocks you out every time.  The cyclical nature of the chorus and the intricate background melodies are marks of advanced musicianship.  The guest vocals by Emily Wold also serve to make this song one of the strongest on the album as the band pushes the envelope of post-hardcore.  The denouement of Oh, the Suffering is an intriguing choice, but the almost stoner vibes that the song gives off would probably be best served as a melodic interlude elsewhere on the album.
     At the end of the day, Becoming Saints is doing a lot of things right.  Fans of bands like For Today, Life in Your Way, and Your Memorial will find portions of Oh, the Suffering to fall in love with.  Oh, the Suffering is a promising debut album, and if the band continues to improve in its musicianship and vision, they may become one of the top contenders in the metalcore scene.  

Rating:  7.5/10

Ascendant - "Serenity" Album Review

           Denmark metal band Ascendant has released their second album, an EP entitled Serenity.  Whereas their first album The Alteration had elements of hardcore, death, and black metal, Serenity showcases Ascendant branching out into other areas, namely doom and progressive metal. 

Undoubtedly, one of the most impressive aspects of this record is the vocals.  Frontman Josua Poulsen shrieks and gurgles through the album like a rabid wolf bent on the annihilation of a legion of innocents.  He is supported in this endeavor by bassist Jens Gronhoj.  Certain moments stand out for their diversity – the shouted vocals on “The Void” that immediately bring to mind Ian Arkley from Seventh Angel to the singing and spoken lines on the closer “The Foundation.”  Guitarist Kristoffer Vammen does an adequate job of intertwining driving guitar passages with melodic leads and some memorable riffs; however, branching out more into solo territory would bring the record to a whole new level.  A simplistic, invigorating solo in the style of Iron Maiden or a solo that slowly builds up with sheer melodic intensity, like the one on Extol’s “Undeceived,” would be appropriate for their style of music. I do very much appreciate the outro on “The Void” – more moments like this would make a more memorable record.  One area that the band could improve in is in the drums and bass.  There is certainly nothing wrong with either of these on Serenity, but I find that the more I listen to metal music, that it is these two elements that separate good bands from great bands.  Utilization of the bass guitar as more than just an instrument to hold down the low end of the chord (like in “The Foundation”) and the inclusion of more drum fills and even solos would help to set this fledgling band apart from the competition. 

The band scores big with their opener and closer on the record, and I keep coming back to these songs, but somewhere in the middle Ascendant seems to have lost their creative edge.  There wasn’t enough variety.  The inclusion of more instruments for melodic passages would serve the band well in the future – keys, acoustic, strings, etc. – and keep the listener more engaged.  Some slow, doomy or even sludgy passages would be great.  I also think that the band should elaborate on the best things going for them.  This includes diversity in the vocal arrangements.  I was also impressed by the tempo changes in the music, notably on “The Foundation.”  Pulling this off can be tricky, but the band nailed it.  Jens and Levi, who wrote the lyrics, also do a phenomenal job.  In a few places they are cut and dry, portraying the band’s Christian faith.  In others, they are more philosophical and even poetic, as on “Serene:”  “Rippling water dripping from the last winter snow // between walls of steel and stone I found you flourish.”

               A newcomer to the field of metal mayhem is often cast aside, plowed under, or phases out within a release or two – but Ascendant is a band that has great potential if they continue to develop their sound and talent.  Keep an eye on these guys from Denmark – better yet, keep two eyes on them, or you might miss something wonderful.

Rating:  3.5/5.0

Band Facebook