The Impaler – AFWTD (A Fate Worse Than Death)

AFWTD Album Cover Art

The Impaler – AFWTD (A Fate Worse Than Death)
Self-Released
Release Date: 19/02/2021
Running Time: 29:31
Review by Steven Hooke
7/10

I’m starting to think the raging sun and the multitude of insects and animals that want to kill them is starting to really get to Australians.

A hive of various iterations of hardcore over the years, the light and frilly post-hardcore of The Amity Affliction and Hands Like Houses slowly evolved into the stomp and aggression of Parkway Drive and I Killed the Prom Queen, which then in turn crept into the realms of deathcore with Thy Art is Murder and Make Them Suffer, before a quick foray into the emergence of djent with Polaris and Northlane, lead to New Zealand’s bigger brother becoming the international hotspot for the new age of nu-metalcore with the likes of Ocean Grove and Alpha Wolf. It’s almost like they were bored of being known as ‘that country with the band that’s played the same song for 50 years and whose guitarist dresses like he’s still in secondary school’.

In that bracket of ‘it’s like deathcore, except it actually sounds like someone wants to kill me’ is The Impaler, a five-piece banquet from Melbourne. Following up from their debut “Death Cult” from last year, “A Fate Worse Than Death” actually opens with a similar idea to the debut, with the intro track – in this case ‘Voices’ – keen to set the mood and the atmosphere for the album. Whereas ‘The Leper’ from “Death Cult” goes from ‘spooky spooks’ to ‘murder’ in about 30 seconds, ‘Voices’ lets the aura build, creating a darker, encroaching presence before getting to the aforementioned ‘murder’ parts. Straight away from the two openers, The Impaler’s ‘AFWTD’ has whiffs that the band has been hard at work to create a bigger feeling to their music, with the switch into ‘Failure’ showing off the wall of noise they now have in their repertoire.

A large part of it comes from an improved production job, adding in the rumbling bass tone that’s all the rage at the moment, which affects the bass drum kicks and general low-end notes. That, in turn, gives you a satisfying little rattle in your head whilst not sounding like a blown speaker. It’s particularly prominent on ‘Mourn’, which features a guest appearance from Thy Art is Murder’s CJ McMahon who trades vocal lines with The Impaler frontman Jordan Scott, ending up sounding like the pair are gargling cement.

The black metal elements are far more pronounced on this album too. Echoing tremolos dominate ‘Release’ before they melt into veering bends that feels like you’re taking a peak outside after the first bomb has been dropped, but no song adds blackened kvlt-ness as prominent – or as good – as ‘Immortal’. An almost beautiful song that feels inspired by the blackened folk qualities of ‘The Wild Hunt’ by Watain and one that is bathed in melodies, with everyone playing their part so well throughout the song. The heaven breaching swells of guitars that seamlessly transition into black metal chord progressions, drummer Jammie Hubbard leading the charge from one key change to another, before working with bassist Ben Van Looy in imploding the world on the breakdown, all the while Jordan is performing with an incredible range that almost poetically feels like a cross between Alpha Wolf’s Lochie Keogh and former Suicide Silence frontman Mitch Lucker.

I feel almost cruel giving this a 7/10, mostly because it doesn’t feel like it tells the full story – although for what it’s worth, it is a high 7. Like a 7.999*/10.

It feels like the best parts of ‘A Fate Worse Than Death’ almost hinder the album, the heights of ‘Immortal’, ‘Mourn’ and ‘Release’ are so high that they leave the rest of the album feeling quite normal (although the “…destroy the fucking world!” breakdown in ‘Hatred’ is pure filth). The world building and sadistic opera-like swells brought in from black metal work wonders for the band’s sound and should, along with this production style, be things The Impaler lean into heavily for album number three, which given their turnaround so far should be here March next year, so chop chop lads.

‘Mourn’ (Official Video)

TRACKLISTING:
01. Voices
02. Failure
03. Immortal
04. Mourn (ft. CJ McMahon of Thy Art is Murder)
05. Fear
06. Hatred (ft. Josh Hill of Cerement)
07. Release

LINE-UP:
Jordan Scott – Vocals
Shaun Van Looy – Lead Guitar
Lewis Ranford – Rhythm Guitar
Ben Van Looy – Bass
Jammie Hubbard – Drums

LINKS:

The Impaler Promo Pic with Logo

Disclaimer: This review is solely the property of Steven Hooke and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

This Is Turin – T.U.R.I.N. EP

T.U.R.I.N. EP Cover Art

This Is Turin – T.U.R.I.N. EP
Self-Released
Release Date: 15/02/2021
Running Time: 13:23
Review by Beth Jones
8/10

Now, I have been known, on occasion, to really rather like a bit of technical blackened death metal! I know what you’re thinking – “Good lord, Beth, the prog/power/symphonic metal fan, stepping over to the dark side?!” Yes, it does occasionally happen. And one band that are high up on my ‘I need to listen to something aggressive’ list, are Cheshire, UK based Technical Death Metal band, This Is Turin. So, when their imminent EP release dropped in our inbox, I snaffled it away before anyone else could get their hands on it!

Now, this is only a very short EP, at a little over 13 minutes. But in that time, it explores total inner misery, failed absolution, darkness reigning over the light, losing faith, letting go to save your soul, and then the freedom of Excommunication, finding the light in the darkness. So…erm… yeah, I’ll just let that sink in for a minute!

‘Misery’ begins the EP, with guest vocals from CJ McMahon, vocalist of Thy Art Is Murder. It starts off with some eerie samples, and then launches in to a chunky, crunchy, riff-laden cacophony of torturous despair. The guttural screams and growls of CJ sit on top of the tumult, displaying the terrifying feeling of internal despair. Towards the end of the track, the mixing goes all fuzzy. For me this, is the effect of that deafening to the world that total misery can invoke. I have to say, while CJ’s vocals are good, I much prefer Darryl’s vocal style.

Track 2, ‘Absolution’ is an absolute banger, that not only melts your face, but gets to work on melting your internal organs, too. This is anger meeting hopelessness. Sections with incredibly fast paced drumming, and technical guitar work, give way to sections designed for pure filthy head banging! Darryl’s vocals are superb here, too. He has a very versatile voice, that fit so well with the overall band sound. The whole thing makes for a beautifully terrifying listen!

Bringing things to a close in ‘Excommunicate’. This starts with a quick dual guitar riff, then launches into a bit of blast beating and a scream that would chill even the coldest soul. Then it settles into a more comfortable, but no less tortured rhythm. Again, it’s an extreme wall of sound that rips out your still beating heart and uses it as a glove. And the screams!!! The screams are just epic!! There’s so much going on in this track! The technicality is brilliant, and we even get a frenetic guitar solo in the later part of the track. This signals the start of the build-up to the end! And then, as quickly as it started, it stops. “And there it was, gone” as they say here in the Wales!

All in all, I love this EP. And, if you’re a fan of technical, death, blackened death, or deathcore, then you will too! The cover art it also pretty insanely dark, as well, and it really fits with the themes explored here. My biggest criticism is I just wanted more of it. I need a new album now! Get cracking on it lads!

TRACKLISTING:
01. Misery (Ft. CJ McMahon)
02. Absolution
03. Excommunicate

LINE-UP:
Darryl “Daz” Jones – Vocals
Anthony Hayden – Guitar
Davey Langford – Guitar
James Kinnear – Bass
Ben Adcroft – Drums

LINKS:

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with MONASTERIES

Monasteries Logo

EMQ’s with MONASTERIES

Hi everyone! Welcome to our new EMQ’s interview with Manchester, UK based Tech-Deathcore band, Monasteries. Huge thanks to drummer, Dan, for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Hi, my name’s Dan and I’m the drummer for Monasteries. The band started back in 2013 with the guitarist of my old band. However, we’ve had a few line-up changes over the years as many bands do but we’re stronger than ever, currently with Josh Davies on Vocals, Aaron Wright and Ben Standley on Guitars, Sam Mitchell on Bass and yours truly on Drums.

We’ve toured the UK and Mainland Europe extensively having shared the stage with the likes of Aborted, I Declare War, A Night In Texas, Aversions Crown, Aegaeon, Black Tongue and many more.

How did you come up with your band name?

I’ve a long history with World of Warcraft and took inspiration from a dungeon in the game called Scarlet Monasteries. I think the only people who have managed to work out its origin have been people who played WoW.

What Country/Region are you from and what is the Metal/Rock scene like there?

I’m from the West Midlands. Historic home of metal. My most local venue The Haygate (RIP) was shut down many years ago and shows died out in my local area a while ago sadly but there’s some great bands such as Suffer, The Scumbags, Old Wharf and many more from a stone’s throw away in Wolverhampton.

What is your latest release? (Album, EP, Single, Video)

We have our new single ‘Allowing Your Traitors To Die’ coming out on 29th January.

(That’s TODAY and it’s a banger – Rick)

‘Allowing Your Traitors To Die’ (Official Video)

Who have been your greatest influences?

Neil Peart from Rush and Inferno from Behemoth, no question. John Longstreth as well because he’s absolutely insane.

What first got you into music?

My dad did mainly, he’s always been a metalhead, so I grew up on the likes of Judas Priest, Iron Maiden, Black Sabbath and Rush. I think one of my earliest memories was blasting ‘Run To The Hills’ in bed when I was like 5-6 years old on cassette and I haven’t looked back since.

If you could collaborate with a current band or musician who would it be?

Reflections, definitely Reflections.

If you could play any festival in the world, which would you choose and why?

Hellfest, it’s the best festival I’ve ever been to and I’d love to play it one day.

What’s the weirdest gift you have ever received from a fan?

I don’t think we’ve ever received one to be fair, other than the time someone gave us a dildo on stage which proceeded to be whirled around like a helicopter mid-song, but we didn’t get to keep it unfortunately.

If you had one message for your fans, what would it be?

We’ve got a lot of cool stuff coming up for you, be ready!

If you could bring one rock star back from the dead, who would it be?

Lemmy, guy was an icon.

What do you enjoy the most about being a musician? And what do you hate?

The thrill of playing shows and having a good time with your mates for sure, the thought of having to lug my drum gear around is definitely something I hate but I guess that’s my own fault for choosing drums and wanting so many cymbals etc!

If you could change one thing about the music industry, what would it be?

Fairer pay from the big platforms who monopolise on the fact there’s nowhere else for you to put your music.

Name one of your all-time favourite albums?

Chimaira – “Resurrection”, Absolute riff city.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Vinyl all day.

What’s the best gig that you have played to date?

Tilburg, NL with Black Tongue, I Declare War, Aegaeon and A Night In Texas. Was an awesome show and the venue was super cool.

If you weren’t a musician, what else would you be doing?

Tour driving for sure, always about the music.

Which five people would you invite to a dinner party?

Gordon Ramsay – Just want him to roast me and my food to be honest.

Brian Shaw & Eddie Hall – Just to laugh at the way they act together.

Warren Buffet – Because stonks.

And Christopher Lee if he was still around, had a career spanning 7 decades. He’s gotta have some cool stories.

What’s next for the band?

When everything returns to normal, we’re hoping to be out on the road playing shows as much as possible, you can look forward to catching us on tour with Tenside 13th-16th May and at Tech Fest on 1-5th July!

What Social Media/Website links do you use to get your music out to people?

You can use this Linktree below to find us on all major platforms!
www.linktr.ee/monasteriesuk

Jaffa Cakes! Are they a cake or a biscuit?

As ruled by a court of law, they are most definitely a fantastic VAT free cake. I mean the clues in the name…

Thank you for your time. Is there anything else that you would like to add?

Thank you!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Bleed From Within – Fracture

Bleed From Within – Fracture
Century Media Records
Release Date: 29/05/2020
Running Time: 42:10
Review by Steven Hooke
8/10

It’s mad to think we almost lost Bleed From Within to nothing more than sheer ignorance once upon a time. Frontman Scott Kennedy had the audacity to have a fringe in the early 2010s, at the height of modern metalcore’s popularity, and the scourge of “that’s not metal!” music fans tried their damnedest to ignore and dismiss the Scottish outfit before listening to a single note. However, what they weren’t counting on was the absolute thunderbastard of BFW’s third studio album “Uprising”, an extension of their deathcore sound, now featuring melodies rooted in Sweden’s melodic death metal scene that firmly separated them from any Horizon or Alexandria-based contemporaries.

Following a brief hiatus and a change in the guitar guard, BFW returned for their fourth album in 2018. “Era” was the confirmation, should anyone have needed it, that the lads could still go, settling further into the melodeath direction of “Uprising” with an ample selection of riffs and grooves, whilst also using the opportunity to dabble with cleaner vocals, with FNG Steven Jones largely backing some of Kennedy’s lighter screams, causing the kind of vocal layering that sounds like the vocal choir of Hell’s Fifth Circle.

“Fracture” sees Bleed From Within’s musical evolution continue into heights few could predicted, even when taking into consideration the trajectory of their last few albums. It’s not just about taking more influence from melodic death metal or the step-forward in the use of Jones’ clean vocals, every aspect of the band’s sound now feels sharpened, the performances of everyone involved is of the highest tier and Bleed From Within now look like a band of limitless ascendancy.

Opener ‘The End Of All We Know’ puts the tone of the album firmly into place. No floaty intro track, no spoken-word world builder, it is a succession of neck-snapping riffs backed by the stomp of Ali Richardson’s beats that tell the listener that COVID isn’t the only thing about to fuck your world up. The track is also the first time we hear the trade-offs between Kennedy and Jones. Any clean vocal style would typically bring fear and terror to the troo metal purist (anyone remember Suicide Silence?), but Jones’ tone and delivery only seek to add to the diversity of the band’s sound, allowing for moments of genuine melodic brutality, that we’ll see in its fullest on tracks like ‘Ascend’ and the title track.

While the first half of the album establishes what this album is, the second half is a whirlpool of white-hot energy and power that should define exactly just who the fuck Bleed From Within are.

‘Night Crossing’ sees Scott prove that he’s no slouch in the clean vocal department, belting out a rattling thrash chorus betwixt a series of leering grooves and a cameo appearance from everyone’s heavy metal best friend Matt Heafy. It is a pretty much a half-and-half split in the album’s latter half between vocal superiority and being torn asunder by resident riff machine Goonzi which occurs somewhere in ‘Ascend’. Backed by the rhythm section of Richardson and Davie Provan, Goonzi – who has already been on top form for the duration of the album – finds that extra little something, laying waste to ‘Ascend’ to almost comical levels, before employing a stomp on ‘Utopia’ that would make Meshuggah sweat, before finishing off on a groove from the school of Deftones’ ‘Swerve City’ for closer ‘A Depth That No One Dares’.

You would be forgiven for being caught off-guard by “Fracture”. Even if you had been following the band since their first note nearly 15 years ago, the step-up here is reserved for metal’s elite. In the year of our lord 2020, we’ve had high profile metal releases from the likes of Trivium, Sylosis, The Black Dahlia Murder, an influx of the next generation from Loathe and Irist, for Bleed From Within to standout in the way that they have speaks volumes for the band they have become and the potential for what may come next.

TRACKLISTING:
01. The End of All We Know
02. Pathfinder
03. Into Nothing
04. Fall Away
05. Fracture
06. Night Crossing [ft. Matt Heafy (Trivium)]
07. For All to See
08. Ascend
09. Utopia
10. A Depth That No One Dares

LINE-UP:
Scott Kennedy – Lead Vocals
Craig “Goonzi” Gowans – Lead Guitar
Steven Jones – Rhythm Guitar, Clean Vocals
Davie Provan – Bass
Ali Richardson – Drums, Percussion

LINKS:
www.bleedfromwithin.com/
www.facebook.com/bleedfromwithinband/
www.instagram.com/bleedfromwithin/
www.twitter.com/BleedFromWithin
www.open.spotify.com/artist/5ZvwJikDgdP1PFU4PkAPVG
www.youtube.com/user/BleedFromWithin

Disclaimer: This review is solely the property of Steven Hooke and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with DISPOSITIONS

Logo

EMQ’s with DISPOSITIONS

Hi Everyone. Welcome to our new EMQ’s interview with Fort Worth, Texas based Deathcore / Metalcore band Dispositions! Huge thanks to Ethan Massey for taking part!

What is your name, what do you play and can you tell us a little bit about the history of the band?

Dispositions started out in 2015 as an internet project by guitarist, Ethan Massey. Soon after finding band members, Dispositions entered the studio to record their debut EP “Dead Era” which released in January 2017.Dispositions then began playing local shows around the Dallas/Fort Worth area. They then hit the studio in late 2017 to record with producer, Cory Brunnemann in San Antonio, TX to record two singles. One being a Linkin Park cover called ‘QWERTY’ and the other called ‘Imitator’, which Dispositions shot a music video for. With the momentum of those singles Dispositions started playing shows and going on runs with bands such as DevilDriver, Jinjer, Upon a Burning Body, Bury Your Dead, Drowning Pool, Attila and MANY more! Adding a second guitarist in the mix in 2018, Dispositions hit the studio again with Cory to record two more songs later that year. One being the song ‘Pitiful’ and the other being ‘For You’.

How did you come up with your band name?

It’s from a Tool song.

What country are you from and what is the Metal/Rock scene like there?

We are from the US, specifically, Texas. The music scene here in Dallas/Fort Worth is extremely active with lots of local bands of all genres and a good amount of venues that allow big tours to come through.

What is your latest release? (Album, EP, Single or Video)

Our latest release is our song called ‘Pitiful’. We have a new song/video coming out.

If you could collaborate with a current band or musician who would it be?

We’d like to eventually work with Landon Tewers from The Plot in You.

If you could play any festival in the world, which would you choose and why?

Rock AM Ring would be pretty insane. Some of our favourite bands have played that one.

If you had one message for your fans, what would it be?

#spreadthehate

If you could bring one Metal/Rock star back from the dead, who would it be?

Dimebag Darrel or Chester Bennington

What do you enjoy the most about being a musician? And what do you hate?

The shows and travel are by far the most fun part. Being a local band all this mostly come out of our pockets to fund at the moment so that’s probably the part we hate.

If you could change one thing about the music industry, what would it be?

I’d personally love for it to go back to the 80’s style and you were signed based off your talent and showmanship other than social media numbers and streams.

Name one of your all-time favourite albums?

“10,000 Days” by TOOL

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Downloads are the most convenient but CD’s were the coolest in the early 2000’s when they’d actually come with cool behind the scene booklets about the album.

What’s the best gig that you have played to date?

There’s a few that come to mind but I think when we played with DevilDriver at Gas Monkey Live or playing to a totally sold out crowd with Upon a Burning Body in Dallas.

What’s next for the band?

Next for us is to release our song, ‘For You’ on 11/15 as well as playing a few shows with Bury Your Dead, Fit for an Autopsy and more.

What Social Media/Website links do you use to get your music out to people?

Facebook, Instagram, Twitter, distrokid, Spotify, Apple Music, google play, etc.
https://www.facebook.com/dispositionstx%20/
https://twitter.com/dispositionstx
https://www.instagram.com/dispositionstx/

Jaffa Cakes? Are they a cake or a biscuit?

Honestly have no idea what those are. Lol!

Thank you for your time. Is there anything else that you would like to add?

Hit our website up, DISPOSITIONSTX.COM to get your merch and tickets!
https://dispositionstx.com/
Ethan Massey
Facebook.com/dispositionstx

 

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Whitechapel – The Valley

The Valley Cover

Whitechapel – The Valley
Metal Blade Records
Release Date: 29/03/2019
Running Time: 40:29
Review by ‘Dark Juan’
9/10

Greetings and salutations, my hordes of evil, nefariousness and downright mischief! I am Dark Juan, hopefully you have deflowered virgins of all faiths according to my word and you will all worship at my anointed feet because I have a massive and overweening sense of my own self-importance. In other news, there are no snacks in the house besides crisps and considering I work in the factory that makes them I’m sick of the fucking sight of potato based snacks and therefore I am consumed with righteous rage and furious anger because all I fucking want is cake. There is no cake in the house. WHAT MOTHERFUCKING KIND OF HOUSEHOLD DO I LIVE IN WHEN THERE IS NO AVAILABLE CAKE?

Pardon my outburst, please. It is probably because I am listening to one of the angriest records I think I have ever heard, being Whitechapel’s “The Valley”. This music is visceral, vein bulging fury of the kind that is seen shortly before it has launched itself teeth first at its hated enemy and buried said dentistry in the carotid artery and is busily masticating its way through flesh, tendon and muscle. To say this record is angry is to say that Lewis Hamilton can drive very, very fast and is also boring as fuck as an interviewee. However, Whitechapel are not boring as fuck. Far from it..!

“The Valley” is written from the perspective of vocalist Phil Bozeman looking back at his childhood and the struggles his mother suffered with mental health and other issues. This immediately gives the record a personal, intimate feeling, whereas some metal by its very nature is almost… aloof from the listener. Arch Enemy are a good case to cite to prove that theory – technically super competent, entertaining, but somehow cold and distant. Whitechapel are the wide eyed, staring, drooling madman screaming incoherently at you an inch away from your face, blasting you with spittle and bad breath. You cannot hide from Whitechapel and this album lays feelings and dreams skinned, bare and raw. It is NOT a comfortable listen for me because I suffer from certain difficulties with my mental health and there are certain parallels with my own childhood (hard to believe, I know, what with my jocularity and everything) and this record is the musical equivalent of setting a razor to my vein and slashing the fuck away. I’m literally looking into the soul of a damaged man who has decided to come out fighting everyone and everything forever. Phil’s voice is the sound of a man who has spent most of his life staring into an inky black abyss containing…. something. Something that has tested his sanity, and it’s hanging by a thread and he’s carrying a loaded shotgun. And he’s just caught you shagging his 17 year old daughter…

There are a couple of occasions where Phil sings in a clean style on the record – ‘Hickory Creek’ being the notable example of this. It lends the Whitechapel sound a valuable extra dimension beyond the sheer, uncompromising, crushing rage they normally display. Phil’s vulnerable, wounded side comes out and although not the most accomplished singer in the world, the pathos and raw emotion in his voice makes the whole song… complicated. You don’t want to say you like something that someone is clearly bleeding their soul out on, but I like it. You know what I mean. However, Phil normally employs a method of vocalisation that is akin to flicking the love spuds of a large predatory animal until it is enraged and staying there to be mortally savaged with tooth and claw. It is primal roaring of the highest order, and again, much like Nathanael Underwood of Damim’s vocals, entirely clean in diction rather than an incomprehensible hurricane approximation of words. I can hear what he’s singing about and this is a very good thing indeed.

So, as intimate as you can get then! No mean feat for a band whose sheer brutality normally means they stand apart from the mainstream, and from the affections of some metal fans. Every song on this record is excellent for different reasons. My brain is now liquid. It has been absolutely beaten to a pulp. There’s nothing like music with emotion and soul, and “The Valley” is the epitome of it.

The guitar work of Ben “Perfectly Named” Savage, Zach “Not Quite As Perfectly Named As Ben” Householder and Alex “My Name Is Not Relevant To This Joke” Wade is magnificent, downtuned, semi-djent ultraviolence of considerable class, and the drumming of Ben Harclerode the sound of a man determined to kill everyone in a four mile radius with the power of percussion. The bass is a solid rumble that shakes organs loose and causes internal bleeding. There’s some standout songs in what is an utterly magnificent record – the previously mentioned ‘Hickory Creek’, ‘Third Depth’ (almost Tool-esque in parts!) and the huge and rabid beast that is ‘Forgiveness Is Weakness’. This is one of the most dense listening experiences I have ever heard, running OHHMS’ last record a close second. Extraordinary. Truly a one of a kind album!

Yet again, another metal band proves the naysayers wrong. Metal has never been in such rude health as it is now, and the amount of superb records acquiring my attention has never been higher.

Brothers and Sisters of the One True Faith, buy this record. Buy it now. I command you.
The Patented Dark Juan Blood Splat Rating System awards “The Valley” by Whitechapel 9/10 for an emotional journey (for me personally, at least) that’s ended up covered in blood and viscera. An incredible record of power, depth, complexity and raw fucking emotion!

TRACKLISTING:
01. When A Demon Defiles A Witch
02. Forgiveness Is Weakness
03. Brimstone
04. Hickory Creek
05. Black Bear
06. We Are One
07. The Other Side
08. Third Depth
09. Lovelace
10. Doom Woods
11. Sea Of Trees

LINE-UP:
Phil Bozeman – Vocals
Ben Savage – Guitar
Zach Householder – Guitar
Alex Wade – Guitar
Ben Harclerode – Drums
Gabe Crisp – Bass

LINKS:
https://www.whitechapelband.com/
https://www.facebook.com/whitechapelband/

https://www.instagram.com/whitechapelband/

https://www.youtube.com/user/WhitechapelTV

 

Whitechapel Promo Pic

 

Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.