Review Summary: A good mix of generic deathcore with elements of technical/brutal death metal, but it was spoiled by a very monotonous growl that is constantly repeated.
DWIAD - originally from Minneapolis, the band disbanded in 2015, changed their name to create an interesting prog. metalcore/djentcore project Soulkeeper. By the way, you can hear some djent efforts on this album.
The recording cannot present us with something memorable, even the fact that there are technical riffs cannot deny the presence of terrible vocals, which you will get tired of after two tracks and the constant desire for not fresh breakdowns. Each track is performed in a chaotic tempo, which is repeated during the entire listening of the record.
The album saves the drums and bass guitar, preventing it from becoming another general deathcore. Drummer beat not just with a cardan, but with intense blast beats hitting the drums and using hi-hats.
The bass here is given more attention than the average deathcore bands do, it appears prominently in every song, gives the rhythm parts a not dry sound.
"YMWATF,HY?" the usual intro, which begins calmly, but according to the canon of the genre, has a brutal breakdown at the end. You can highlight the presence of a bass drop, everyone likes bass drops, right?
The song is abbreviated from the phrase: "You've Met With A Terrible Fate, Haven't You?" - this phrase was featured in the video game "The Legend of Zelda: Majora's Mask", so it is possible that the title of the song is a reference to the dialogue of the characters of this video game.
"Bleed the weak, Bury the damned" has a good solo. The lyrics of the song are clichés like how the surrounding world is dirty and helpless. A world in which there are only blind ignoramuses, but we, who could not care less about their established rules, will defend our position in life at any cost, so as not to become one of them.
"Devil's Snare" is a boring track, except for the first two minutes, and the hardcore shout "I promise I'm certain I swear" does not carry anything memorable. After the second minute, the music turns into a mediocre melodic deathcore. The text is similar to the previous one, this time it tells about the finding yourself.
"Aggression" the title of the song fully describes its mood, first we hear angry guitar bends with bass parts. Next comes the expected increase in tempo and a powerful bass drop begins. At the end of the composition, progressive patterns are used, and it ends with a melodic guitar part.
The lyrics from the title of the song did not go far and convey the same hatred. I don't think there is any important subtext there, except that we hear humiliation and threats.
"Queen Anne's Revenge" has a good guitar riff that gives the atmosphere of hopelessness described in the lyrics of the song. This melody, in my subjective opinion, is one of the best moments of the full-length album. Also, this is one of the few songs where the rare screams of the vocalist fit perfectly into the mood of the song.
The name of the track is a ship with the same name, because of this the text also refers to the marine theme. However, there is some ambiguity in the fact that the song refers to the "Mariana Sea", which cannot possibly refer to the ship "Queen Anne's Revenge", because the ship never sailed in the waters of the Indian Ocean.
"Local Anesthetic" is generally a standard song, with attacks that are obvious to fans of the genre. The track becomes interesting only at the last minute, thanks to the djent and meaty breakdown.
Lyrically, this track is just rubbish and repeats the lyrical skeletons of emocore music. The main idea of the song is to convey grievances due to past love (or sexual) relationships.
"Burn the Bridges, Corrupt the Cure" is a powerful track with a cool bass dropping breakdown.
The instrumental here is slightly with a deviation to the beatdown genre, this is clearly visible in the middle and towards the end of the timeline.
The main idea of the song: control over the surrounding world in order to change it by exterminating those who are not worthy of existence (so-called sick people).
"Rules of Survival" sounds like progressive deathcore, also has djent elements. The story uses an Egyptian concept, mentioning pharaohs and locations.
We are told about the vile King of the Nile and his lust for power, because of which he is ready to betray his own brothers. He calls for the rise of "Montu" - the god of war in the ancient Egyptian religion, the embodiment of the conquering life force of the pharaoh.
The end of the track smoothly transitions into the next outro.
"Azoth Arise" cannot be considered a full-fledged track, but rather a final chord for "Rules of Survival". The phrase - bitter end again - is used to indicate that someone will continue to do something until it is finished, no matter what.
"DAMMIT JIM, this is a party..." is the hottest composition from the album, at the moment when "let's get this f*cking party started" sounds - you won't notice how wet your panties will be.
Unfortunately, I did not find the lyrics to this song, if anyone has them, please send me a message, I will be very grateful.
P.S. All the material for the review was taken from the music service bandcamp.com, where you can find the lyrics of the songs except for the last one.
Also, similar bands: Alone In The Morgue, Eat A Helicopter, Headwound the Pony, Every Hand Betrayed, Thirteen Bled Promises, The Holy Guile, Interrupting Cow
Pros and cons:
+ Damn low growling
+ Blast beats and heavy hitting parts
+ There are technical guitar riffs
+ Dirty breakdowns and mind-bending bass drops
+ Frequent appearance of bass guitar parts
- Falling vocal volume levels
- Still sticking to the generic deathcore sound
Highlights:
Aggression
Queen Anne's Revenge
Burn the Bridges, Corrupt the Cure
Rules of Survival
DAMMIT JIM, this is a party...
Bump
