Review Summary: Let it devour you
Metalcore has more or less become the pariah of the heavier genres. With the exception of certain bands who have earned their stripes and become much-loved staples (Converge, Poison The Well, Dangers etc.), the genre itself is largely viewed as a wallowing pit for those who don’t have the commitment for classic metal genres, and are more content to tread water in an accepted style of heavier music. This is where bands attempt to employ motifs from other music genres, in an effort to keep their sound fresh; electronic, hip-hop, jazz and indie rock are all genres that bands have tried to inject into their metalcore sound in an attempt to rejuvenate it, usually to very mixed results. Contrasting the crunching musical pandemonium of bands such as Converge and Trap Them, Enabler have a distinct level of clarity to their sound, from the more traditional riffs and percussion to the more decipherable lyrics and variety of musicality. Counted alongside the distinctly heavier variety of metalcore acts, the music is a chaotic amalgamation of genres that actually work and mesh together well, such as hardcore and heavy metal, but with a wealth of additional influences, most notably genres such as thrash and grind, with essence of crust, mathcore and powerviolence thrown in for good measure. The result is delirious exercise in chaotic rage that sits comfortably between dissonance and melody, equal parts anger and passion.
From the minimalism of the album cover to the simple scorn of the song titles,
All Hail The Void seethes with violent energy, and this is part of its immediate charm. The caustic aggression of the vocal delivery set against the layered musicality is in perfect balance; tracks like ‘No Deliverance’, with its thunderously chunky main riff are offset by a base layer of melody that whirlwinds around the lead guitar and acts as both the perfect foil and the ideal complement to it. Atop this is the vocal, which acts as the razor wire tying the whole package together, presenting an element of humanity amidst the onslaught of music carnage. The final effect is altogether energetic, technically proficient, and toe-tappingly groovy. Of course, there are still flashes of typical metalcore hallmarks, such as chugging breakdowns and scrambling solos hidden behind main riffs, but these are all constructed and implemented in clever ways to maximise the brutal impact of the music. The breakdown in album opener ‘FATH’, for example, is very brief but the stop-start pattern it employs is not only a bilious purge of the main body of the track, but also a cleverly utilised bridge into the song’s latter stages. Similarly, the later points of ‘*** Today’ utilise a plodding breakdown before the vocal outro, merging melody with heaviness and leading perfectly into the facemelting grind of follower, ‘False Profit’. It is sharply employed stylistics like this, repurposed and polished, that make for some truly memorable album moments.
In terms of songwriting, the album is incredibly strong, from the riffs through to the lyricism, which is suitably dark, forceful stuff. ‘Speechless’, the release’s distinctly more thrash-influenced moment, is a sterling example of differentiation within the album. With a beefy, infectious main riff melody and a breakneck pace throughout, it is a testament to the outfit’s creativity that they were able to employ such a classical sound on a quintessentially modern release, and make the effect work. It feels like a salute; an homage to the classical genres that have doubtlessly influenced the band’s trademark sound. On the rest of the release, however, the metalcore stylistics are decidedly more prominent. A notable example would be ‘Trust’, which has occasions where the track segues away from the melody and employs full-on grind stylistics, such as high-tone guitar trills and low, repetitive chugs. Even the outro, which appears to almost drown in distortion, is a calculated choice to alienate the listener, only to immediately shunt back into final song, ‘Funeral Dirge’, with its somewhat more math-infused sound. It is a release conceived as a whole and carefully tailored for maximum impression, and this is one the album’s main selling points; the overall cohesion is above reproach. Tracks slot together perfectly whilst still retaining a uniquely individual sound all their own.
The marriage of heaviness and accessibility is found throughout
All Hail The Void, theoretically never so aggressive as to alienate fans of classic heavy genres, but also never too mainstream as to alienate pit trolls. The release’s title track features shout-along sections that practically scream modern metalcore, but without ever being off-kilter or cheesy; the experience always feels full-on and organic, and this is the album’s biggest selling point. The title track itself is an eclectic journey through all manner of classic metal tropes, without ever becoming tonally inconsistent; an achievement in its own right. Although the overall musical content could indeed be deemed as eye-watering and hard to swallow, there is such as sense of adrenaline and chaotic fun pumped throughout that the sheer exhilaration of the experience is hard to ignore. Like nails scraping against the soul, the deep bass and low guitar tone have been carefully designed to rattle bones, and the mid-to-high range vocal is so consistent that all the composite elements form a singular awe-inspiring beast, fuelled half by bloodlust and half by brooding passion. It is perhaps not the best example of modern metallic hardcore, but it is certainly one of the most accessible, eclectic, and satisfyingly battering experiences of the genre. Grit your teeth and feel the burn.
