Review Summary: “You could have been so much more.”
There are some bands that just miss out. These bands are those that showed exceptional potential at some point in their career- not necessarily as soon as they formed- but, unfortunately, they didn’t meet the lofty level of popularity that they teased originally. Along with bands such as Unearth, Palm Reader, Feed the Rhino and Rolo Tomassi, to name a few, Bleed from Within never seemed to gain the attention that they deserved; especially back in 2013 when the band’s third album,
“Uprising”, was released.
At the time,
“Uprising” demonstrated that its creators were brave enough to infuse their deathcore roots with melodies, an album from a relatively fresh band which was destructive in its own rights yet easily accessible. Accompanying that success was the band’s strong live performances which in turn helped them squeeze through the heavily bottlenecked metalcore scene. At the time, it was a huge success; five years later, however, you can start to unravel why Bleed from Within never rose to the same heights as some of their more renowned peers such as While She Sleeps and Architects.
Naturally, a five-year gap between albums for a band the size of Bleed from Within doesn’t swell their status as a band that could be the next Lamb of God. Nevertheless, their new album
“Era” builds on its predecessors’ success, not so much progressing its sound but ironing out any hidden creases that
“Uprising” missed. “Clarity” instantly sets the tone with dramatic riffs which gyrate around abrasive drum fills and swerve into coiled breakdowns. Every song thereafter echoes the same proficient standard of songwriting as the first, exhibiting just enough variation to distinguish one song from another. During the chorus, “Afterlife” unleashes a colossal groove that stomps around Scott Kennedy’s visceral vocals with enough force to leave a lasting impression on your mind. “Alone in the Sun” and “Drag You to the Ground” are also commendable for their oily riffs which constantly meander around the bombardment of bass slides and blast beats without sacrificing their infectious potency.
Clearly, they have the talent and Adam ‘Nolly’ Getgood’s production job is fiercely precise, yet, Bleed from Within are held back by themselves only. Sticking as close to home as they did five years ago while continuing to utilise the same techniques that countless other metalcore bands are still doing weakens the capabilities that they evidently demonstrate. Perhaps this is the underlying problem as to how they never raise their head above others. Beginning the songs- or certain movements with them-with a fade in to maximise the impact of when the mosh-call or breakdown makes, Scott Kennedy’s isolated screaming with a faint distortion of guitars in the background, these blunt techniques are scattered generously across
“Era”. While it is a good album, it is so overflowing with influence that Bleed from within leave no room for innovation on this record.
The constant rise of metalcore bands has decreased dramatically in the time it has taken Bleed from Within to release their fourth album thus its release is not lost amongst the masses like their last album was. Many will agree that is an excellent modern metalcore album, full of infectious guitar leads and Scott Kennedy is one of metalcore’s best vocalists. However, in a time where Architects, Parkway Drive, Trivium and While She Sleeps are swiftly becoming the biggest bands in metal, most people’s sights will, once again, end up diverted away from Bleed from Within.
