I reckon if you asked anyone into rock or metal to name a hardcore band then Hatebreed is likely to come out of their mouths first, such is the bands ever growing popularity. Progression in hardcore can often lead to accusatory jibes of sell out by diehard fans and in some respects that is often justified due to the narrow parameters that hardcore music generally lies within.
This is Hatebreed’s seventh album fronted by the dominant figure of Jamey Jasta who has spearheaded the bands global rise in popularity with over ‘2 million units sold’ apparently. In the promo documentation Jamey eschews a vision of catharsis within extreme music no matter what genre and I can state that he believes that firmly as he maligns modern society by engaging with fans in the live environment with such consummate ease and there are few front men of women who can match his charisma. I absolutely adored the bands last album “The Divinity Of Purpose” which had some of the best riffs, choral barrages and thundering rhythms the band has ever penned. Following it was never going to be easy and for me personally this new offering probably doesn’t quite reach that mark but I suspect fans worldwide will disagree as the release rockets into life with “A.D.” which is a blistering tirade against the American dream set against a hyper speed thrash battering. Jamey’s vocals are as inimitable and caustic as ever as the breakdown riff introduces itself with the subtlety of a sledgehammer.
“Looking Down The Barrel Of Duty” arrives with a build up via its driving riff and vocal assault as they sound more angry than ever on this album. Experiencing Hatebreed on studio product is great but can never replace their spellbinding live shows but songs like “Seven Enemies” and “From Grace We Have Fallen” have the desired effect of pinning you to your seat ready for the incendiary “Us Against Us” which is sure to be a regular live tune containing that gang chant expertise that modern metallic hardcore possesses. Being much faster the pit is likely to be mental and if followed by the mammoth “Something’s Off” with its disconcerting but infectious bass riff then all out mayhem is guaranteed. There are some clean styled vocals sprinkled on this via a rap style that Jamey occasionally produces for emphasis which I am not sure I still like or not.
“Remember When” has a bass hook and riff that took me back to the mid 80s when crossover music was making inroads into thrash and hardcore creating an effusing bazooka like propulsion that I personally think is brilliant complete with the angst vocals and gang chants. “Dissonance” is another bruising encounter but with a much quicker hardcore styled riff but embellished with thrash savagery. As the album approaches its close the one facet that stands out the most is the huge variation in speed and riffing styles embedded into this album which is pulsating and brimming with energy.
(8/10 Martin Harris)
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