Review Summary: Brutal Intricacy
While many bands excel in particular aspects that aggregate into and define the death metal genre, there are few that successfully put together all elements immaculately; composing refined brutality through technical guitar-playing, explosive drumming and hardcore vocals. Each band has their flaws, and others, in attempt to stay on the safe side, turn out very generic and create simple and overused riffs which only confine the genre even more. Many may argue that the death and metalcore domains are very restricted, provided that vocals are compressed into screeches, screams and growls, and the bands are founded and are pillared on their instrumental qualities. This renders the genre a bit controversial, and those have become more engaged in it will have a firm love-it or hate-it notion.
All Shall Perish seem to stand out in their strive to accomplish this, as the effort from each side accumulates into an extremely catchy and impetuous musical compilation. Showing a palpable improvement from
Hate.Malice.Revenge, the Oakland quintet have hauled themselves up, procuring new excellence with their sophomore album
The Price of Existence; a modern musical piece which shows elaboration upon their previous raw elements. The distortion has been altered to produce a more powerful and flogging sound. Guitars and drums are much more thrashy, Hermida's vocals have acquired a higher range and are more prominent, and pleasantly compliment the whole headbanging experience.
The album has a clear and suitable structure, blasting into
Eradication, the riffing is layered with guitaring that gradually develops into a climax and recommences, tightly followed by the sharp drums that induce progressive headbanging. The guitars are very technical and the short synth sounds are almost refreshing, as they meander their way through the drumming and trashy singing. The vocals, although uninterpretable, adjust themselves extremely well to the overall sound, producing a vibrant and harmonious collaboration to the rest of the sound, making this arguably one of the best songs on the album. They manage through most of it to induce the listener into a maze of perplexity, and furthermore, the drumming is highlighted in this song, one of the best elements
All Shall Perish has to offer thanks to a remarkable job done by Matt Kuykendall and Chris Storey. New instrumental features are presented as we embark upon
Wage Slaves. Sharp, intermittent cowbell sounds gradually develop into catchy riffs, and the vehement and raging growl of Hermida. His vocals are extremely raspy and crisp, and are not as muffled as on their previous album, therefore heightening the experience. The riffs are very catchy, notwithstanding the fact that they are predictable and steady along with the guitar. However this gives leeway to vocals which can be distinguished and flexibly make their way around the other musical essences. This is taken advantage of laudably and the growls are a highlight.
However, we have yet to see more from the troupe.
Day of Justice emulates an ineffable melody from the guitars, blanketed with a whole new dimension of celestial riffs, the vocal support and the brittle and yielding drumming and cymbals. The song successfully displays their range of vocals, and the transitions from the guitars, as well as the fact that their is a chorus. The bass is also distinguishable and weighs down the other musical elements.
All Shall Perish are able to differentiate their songs, and generate a murky theme in songs such as
There is no Business to be Done on a Dead Planet and
Better Living Through Catastrophe. In spite of this, they are able to convey a very energetic and powerful tone, which subsists even though, instrumentally, they are playing lower notes. They bring their potential out to maximum in
Prisoner of War, which keeps a very hopeless and nostalgic tone which is transformed into very heavy and obscure guitar layout, on which the solemn and melancholic lyrics prance around. Towards the end, a beautiful melody repeated several times like a perpetual chorus and a solo conclude the song, and fades out smoothly to the Interlude; an unstructured but refreshing melody. Frankly, it isn't very original but it suits the album well as it is more calming and does not feature anything unexpected.
We Hold These Truths is a very contrasting song, and rushes into further sequences without foreshadowing what is to come. Perhaps their most progressive song, All Shall Perish has again beautifully struck, probably combining most of their elements here as well. The guitaring becomes grinding towards the end, and with that the vocals become burpy and more muffled as they are sung in a much lower voice.
The True Beast is almost a portrait of the album, judging by the front cover. Much pressure is put on the drumming, and it makes the song feel a little complacent if you will, and it may be one of the weaker songs in my opinion. This is quickly remedied by
Promises, the guitaring is excellently manipulated in the beginning and all in all a murky, perilous song is the outcome. The screeching is fantastically put to use here as it fades along with the song only to collide with the deep tones of
The Last Relapse; the first time clean Gothic vocals are heard and then a series of guitar melodies which repeatedly breakdown.
All Shall Perish manages to compile a refined and excellent album, deriving the best Deathcore has to offer and personalizing it in their own edition of The Price of Existence. It shows vast improvement on many fronts and is really worth a listen. Personally, it was a gateway to the genre, and in my opinion the best of its kind.
Recommended Tracks:
- Eradication
- Day of Justice
- We Hold these Truths
- Promises
