It is tempting to write two separate reviews for Whitechapel’s fourth full length, one for death metal purists and one for deathcore freaks. Deathcore is oft berated in extreme metal for not being a genuine scene which I find rather hypocritical when in the 1970s Motorhead, Priest, Maiden and Saxon were around and they were criticised by 70s dinosaur rock fans, then in the 80s thrash was heavily rebuked for being a load of noise by straight metal fans, resulting in the forthcoming late 80s/90s death metal grind scenes being laughed at I remember in some quarters. Wherever you look in metal there has always been a scene or movement that has been slated, which partly in my opinion is due to fans wanting to keep a scene to themselves; elitist in some respect. Metalcore was and still is the subject of much scoffing yet is still very popular, despite its rather sanctimonious outlook on other metal scenes. Deathcore is a movement, just like NWOBHM, just like thrash metal, just like death metal and just like black metal, and is here to stay for a long while yet I think. You’ve only to look around at the number of gigs these bands play plus when you can get a two day weekend festival selling out in Leeds that devotes much of its line up to deathcore and metalcore the scene is very much alive and kung fu kicking.
Guys long in the tooth like me have followed virtually every nuance of metal over the years and deathcore has been one of my favourites and whilst I can pick out a veritable tab book of riffs that have been used in deathcore I still enjoy the music both on album and live. My recent Parkway Drive gig this year was one of my most enjoyable gigs so far. Added to this many acts like the aforementioned Parkway Drive along with Suicide Silence has learnt very quickly that one dimensional riffing and breakdowns can only take you so far, something Whitechapel admits. All bands that start off in a certain scene are faced with massive decisions and Whitechapel fit this category as their last album “A New Era Of Corruption” was a fine album, but put them at a crossroads in their career. The choice of whether to continue making the same type of albums or branch out a little and experiment is always difficult but for artists it is crucial to test your fan base and loyalty to some respect. Yes a band will lose the narrower minded in the fan set but the rewards of gaining new ones and garnering wider recognition cannot be ignored for any band.
I’ve listened to Whitechapel for a few years now and on early material their straight ahead I’m going to knock your head off blasting would be fairly formulaic were it not for Phil Bozeman’s insane and demented vocal performance. “A New Era Of Corruption” offered a relatively slower album teeming with riffs and breakdowns from 2010. In 2012 Whitechapel has decided to pool their creativity in song writing instead of writing individually as they did for their last album, and the result is a more rounded and dynamic album, that captures all the barraging aspects of Whitechapel but also the slower, mellower side. Wimp out I hear you cry, are you fucking kidding!
The piano start of “Make It Bleed” is moody and sets the tone for this self titled album that for all intent and purpose marks a new beginning for Whitechapel. The piano leads quickly into a catchy riff and a massive rhythm guitar riff assault. Bozeman’s vocals are as feral as ever with screams and stomach gutting roars. The breakdown comes in half way only for it to be usurped by an excellent acoustic like break that has a Middle East flavour. “Hate Creation” is what you’d expect, a hyper blasting frenzied tune that is a match for any technical death metal you care to mention. It is in the middle of songs like this that Whitechapel show their true experimental colours, with a far more lavish approach to the guitar work, sections that move tangentially from one riff to another but still very smoothly with a nice flow.
“(Cult)Uralist” has blast and double kick to open it and a massive slam riff right before an injection of progressive like guitar work alongside the maniacal vocal thunder. There is definitely something very different on this album compared to previous efforts and one that the band will look back on as the best move they ever made, apart from getting together in the first place that is. The crushing sludge density of “I, Dementia” is tumultuous, with gargantuan riffing and an oppressive pulverising atmosphere. A special mention needs including for their new sticks man, Ben Harclerode, who fits the band’s style perfectly. His dexterity and attention to cymbal work is exemplary and will always gain points from me. The Tennessean terrors continue their unrelenting savagery with “Faces” which harnesses a really catchy riff into a song that is rife with melody, and is probably the straightest deathcore tune on the release.
As the album progresses my mind wanders to Nile on “Dead Silence” due to its double kick speed and riffing style. There’s plenty of macho vocalising giving prospective live audiences a chance to shout into the mic when Bozeman taunts the crowd. Piano returns on “Devoid” and comes across as an instrumental as the tune unfolds with double kick and a longer guitar solo. Final song “Possibilities Of An Impossible Existence” follows from “Devoid” very nicely with a cracking riff. Again there is cloying density that is very tangible throughout this album, its gelatinous tendrils reach out and grab you round the throat and throttle the life out of you. The tune is a good closer, focusing on the experimentation and making it very clear that Whitechapel has penned their best album by far and death metal fans would be wise to check it out and avoid the pigeonholing bands like this get.
8.5/10 (Martin Harris)
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