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sariash<p><a href="https://social.tchncs.de/tags/NowPlaying" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NowPlaying</span></a> Death Atlas by Cattle Decapitation 🎶 </p><p>bandcamp link:<br><a href="https://cattledecapitation.bandcamp.com/album/death-atlas/" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">cattledecapitation.bandcamp.co</span><span class="invisible">m/album/death-atlas/</span></a></p><p>album.link:<br><a href="https://album.link/i/1475983430" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="">album.link/i/1475983430</span><span class="invisible"></span></a></p><p><a href="https://social.tchncs.de/tags/Music" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Music</span></a> <a href="https://social.tchncs.de/tags/Metal" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Metal</span></a> <a href="https://social.tchncs.de/tags/DeathMetal" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>DeathMetal</span></a> <a href="https://social.tchncs.de/tags/Grindcore" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Grindcore</span></a> <a href="https://social.tchncs.de/tags/CattleDecapitation" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>CattleDecapitation</span></a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/coffin-feeder-big-trouble-review/" rel="nofollow noopener" target="_blank">Coffin Feeder – Big Trouble Review</a></p><p><i>By El Cuervo</i></p><p>Sometimes you <em>can</em> judge a book by its cover. The intellectual property rights-busting album artwork of <em>Big Trouble</em> by <strong>Coffin Feeder</strong> pays tribute to the silliest action movies of the 80s and 90s, just like the music within. This album represents the band’s full-length debut after <a href="https://www.angrymetalguy.com/the-ep-split-and-single-post-part-1-things-you-might-have-missed-2022/" rel="nofollow noopener" target="_blank">a pair of EPs</a> that tickled our very own <span><strong>Kenstrosity</strong></span>. Though the core members may be Belgian, the bands through which these guys ordinarily peddle their wares (<strong>Aborted</strong>, <strong>Leng Tch’e</strong>) are fused with a steaming smorgasbord of high-profile guest spots (<strong>Benighted</strong>, <strong>Cattle Decapitation</strong>, <strong>Archspire</strong>). The result is an energetic fusion of various cores, from death to grind to hard (also the order of events at <span><strong>Dr. A.N. Grier</strong></span>’s place on a Friday night). How are these sub-genres fused?</p><p>Distilling <em>Big Trouble</em> down into its key elements is relatively easy, even if those key elements themselves don’t offer easy listening. It combines the monumental heft of deathcore with the sneering attitude of hardcore and the speedy intensity of grindcore. “Porkchop Express” is prototypical of the album, as it blends a stomping lead that reeks of slam with a faster, tremolo-picked verse, while the vocals unpredictably flip between pig squeals, hardcore shouts, and deathly growls. These songs are extremely extreme, favoring an obnoxiously loud master, boisterous riffs, and relentless energy. It’s a lot, but also – at least on first listen – a lot of fun. It’s difficult to dislike something so active and aggressive, and it’s all too brief to become bored. The cacophony is more of an experience than mere music.</p><p>I also admire how <strong>Coffin Feeder</strong> lean into their own silliness; they represent the diametric opposition to bands that take themselves too seriously. It’s difficult to dispute the “What is best in life?” speech from <em>Conan the Barbarian</em> when layered over beefcake deathcore (“The Destroyer”). But I would also argue that <em>Big Trouble</em> favors style over substance. The sense of humor pastes over an album that’s solid in execution of the fundamentals, but not much better. It feels like the band has used up all their ideas by the back half of the record. The songs become predictable, shuffling between mid-paced/deathlier passages, faster/grindier passages, and slower/breakdown passages. Likewise, most of the riffs sound basically the same. Though the leads are typically entertaining, not many of the tracks really stand out because they follow similar sounds throughout.</p><p></p><p>Like all good -core music, the breakdowns are often the highlights. When those blast beats are broken down with a slower but groovier lead, heads will bang. In fact, breakdowns are such an easy win in -core music that they feel like a song-writing crutch. <em>Big Trouble</em> accordingly struggles more where there are longer gaps between those fist-pumping moments. “Plain Zero” is a straighter death metal track with a hefty punch, but the relative absence of breakdowns means my attention is less focused. Paradoxically, there are other tracks with poorly deployed breakdowns that disrupt their flow. “Love at First Death” features a pause that becomes a beefy breakdown, but it’s too sudden and changes the tone of the song. Despite solid leads and entertaining grooves, some tracks aren’t particularly cohesive. The music is so frenetic that it can feel disjointed; it’s an amalgamation of ideas but not written into tidy, individual songs.</p><p><strong>Coffin Feeder</strong> boast some qualities that will undoubtedly appeal to those with a brutal, slamming proclivity. The songs flex with muscular riffs and mighty breakdowns, and the motley vocals go some way to offering a little variety. But <em>Big Trouble</em> (in Little Belgium) ultimately fails to distinguish its individual songs due to repetitive songwriting. Its sheer power can’t overcome a lack of creative spark or ingenuity required to elevate music beyond the average. I feel like there’s more to come from these Belgians.</p><p></p> <p><strong>Rating</strong>: 2.5/5.0<br><strong>DR</strong>: 4 | <strong>Format Reviewed</strong>: 320 kbps MP3<br><strong>Label</strong>: <a href="https://www.listenable.eu/" rel="nofollow noopener" target="_blank">Listenable Records</a><br><strong>Websites</strong>: <a href="https://www.coffinfeederband.com/" rel="nofollow noopener" target="_blank">coffinfeederband.com</a> | <a href="https://coffinfeedermetal.bandcamp.com/" rel="nofollow noopener" target="_blank">coffinfeeder.bandcamp.com</a> | <a href="https://www.facebook.com/coffinfeeder666/" rel="nofollow noopener" target="_blank">facebook.com/coffinfeeder</a><br><strong>Releases Worldwide</strong>: April 25th, 2025</p><p></p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aborted/" target="_blank">#Aborted</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apr25/" target="_blank">#Apr25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/archspire/" target="_blank">#Archspire</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/belgian-metal/" target="_blank">#BelgianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/benighted/" target="_blank">#Benighted</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/big-trouble/" target="_blank">#BigTrouble</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cattle-decapitation/" target="_blank">#CattleDecapitation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/coffin-feeder/" target="_blank">#CoffinFeeder</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/grindcore/" target="_blank">#Grindcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hardcore/" target="_blank">#Hardcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/leng-tche/" target="_blank">#LengTchE</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/amg-goes-ranking-whitechapel/" rel="nofollow noopener" target="_blank">AMG Goes Ranking – Whitechapel</a></p><p><i>By Dear Hollow</i></p><p><i>The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used <del>a Google sheet</del> some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…</i></p><p>Usually, when we do something like this, it increases our street cred in the underground, but I’m dead-set on ensuring our cred goes up in flames. This is <strong>Whitechapel</strong>, the epitome of why boomer metalheads yell at young ‘uns. For a hot minute, the Nashville juggernaut was ranked among the likes of <strong>Suicide Silence</strong>, <strong>Job for a Cowboy</strong>, and <strong>Carnifex</strong>, thanks to their brutalizing and divisive attack of deathcore. Toss in some lyrics about slaughtering prostitutes in 1880s London, and you’ve got yourself a recipe for millennial Hot Topic fandom.<a href="https://www.angrymetalguy.com/amg-goes-ranking-whitechapel/#fn-209659-1" rel="nofollow noopener" target="_blank">1</a> In retrospect, however, thanks to the act’s historic three-guitar attack and the iconic performances of vocalist Phil Bozeman, their whole “Cookie Monster with breakdowns” thing was a cut above the rest. I say that not just because I was a teen raised as an evangelical not allowed to listen to “This is Exile” and “Possession” (but secretly did anyway), although I’m sure that plays a <em>very</em> minor part.</p><p></p><p>Contrary to other long-running deathcore acts like <strong>Suicide Silence </strong>and <strong>Chelsea Grin</strong>, flexibility has been the key to <strong>Whitechapel</strong>’s longevity. Three distinct eras emerge: (1) deathcore for spooky Hot Topic frequenters (2006-2010), (2) chuggy minimalist deathcore (2012-2016),<a href="https://www.angrymetalguy.com/amg-goes-ranking-whitechapel/#fn-209659-2" rel="nofollow noopener" target="_blank">2</a> and (3) deathcore for Phil Bozeman to unpack personal traumas (2019-2021). With that, in anticipation for the upcoming “return to roots” release <em>Hymns to Dissonance</em>, let’s revisit the eight albums of <strong>Whitechapel</strong>, that deathcore band you stopped listening to because geezers said deathcore was lame.</p><p>– <span><strong>Dear Hollow</strong></span></p> <p><strong><span><strong>Dear Hollow</strong></span></strong></p><p>#8. <em>The Somatic Defilement </em>(2007) – The influence of this album cannot be understated, but its crisis of murky grime and polished clarity – with a never-again-addressed orchestral flare – makes <strong>Whitechapel</strong>’s first official foray a confused album, nonetheless worthy of the likes of <strong>Suicide Silence </strong>and <strong>Carnifex</strong>. Punishment front and center with a murderizing theme that reflected its Jack the Ripper-inspired moniker, there’s a lot of chunky breakdowns and Phil’s absolutely vicious vocals in their fledgling stage, reflected in chunky hatred (“Fairy Fay,” “Ear to Ear”) and shining riffage that cut through the murk (“Vicer Exciser”). Plenty gained with few highlights.</p><p>#7. <em>Our Endless War </em>(2014) – Located smack-dab between two other albums stuck in existential crisis, <em>Our Endless War </em>is the pinnacle of the whole cringeworthy “the saw is the law” schtick (sorry <strong>Sodom</strong>), paired with questionable production choices and simultaneously too much and too little <strong>Meshuggah</strong>-isms. While tracks like “Let Me Burn” and “Diggs Road” kick some serious ass, the album is doomed by excessive vocal layering and unnecessary songwriting choices. While it benefits most heartily from the three-guitar attack and feels the heftiest of its era, slow bruisers (“The Saw is the Law”) feel stuck in the dense muck and more allegro offerings (“Our Endless War,” “Mono”) can’t seem to keep up.</p><p>#6. <em>Mark of the Blade </em>(2016) – It’s not that this one is bad, but it’s often overshadowed by the album that emerged next, as “Bring Me Home” and “Decennium” introduced clean vocals. While retaining the saw imagery and three guitars layered for maximum heft, <em>Mark of the Blade </em>cleans up the obscene murk for a more organic and rhythmic album that is heavy on punishment (“The Void,” “Tremors,”), surprisingly catchy and anthemic in its structure (“Elitist Ones”), and experimental enough for a human touch (“Bring Me Home”). It’s the punchiest of its era, with drummer Ben Harclerode making his last appearance on a <strong>Whitechapel </strong>album.</p><p>#5. <em>Whitechapel </em>(2014) – A landmark album in its own right, this self-titled effort saw <strong>Whitechapel </strong>cutting the excess from their sound into a lean, mean, killing machine. Groove shining in the spotlight, its starkness allows more freedom, as tracks can delve into more ominous atmospheres and different instrumental tricks (“Make Them Bleed,” “I, Dementia”). However, like any good <strong>Whitechapel </strong>album, the triple-pronged groove aligns wonderfully with Phil Bozeman’s most menacing performance, descending the tracks into a nadir of darkness and <strong>Meshuggah</strong>-esque ferity (“Dead Silence,” “Devoid”). A start of a new era.</p><p>#4. <em>Kin </em>(2021) – Everything that made <em>The Valley </em>so effective, but with more of the Tennessee flair and a more polished feel. <strong>Whitechapel </strong>explores the cleanly sung and the wailing guitar solos, enacting a beautiful and yearning feel that doesn’t descend into the bleakness of its predecessor but rather looks upon it as lessons learned. It maintains heaviness even if it is less feral than much of its discography – all for the sake of emotion. With more of Bozeman’s cleans contrasting with that trademark density (“Anticure,” “History is Silent,” “Orphan”), an instrumental and technical theatricality (“Without Us,” “A Bloodsoaked Symphony”), and a slightly <strong>Too</strong><strong>l</strong>-esque edge (“Lost Boy,” “Kin”), it leaves trauma and torture in the rearview.</p><p></p><p>#3. <em>This is Exile </em>(2008) – As the only album more popular than <em>The Somatic Defilement</em>, it gets extra points for its influence – but the mania at its core has never quite been replicated. While its predecessor had enough chunky breakdowns to kill a grown elephant and <em>This is Exile </em>has its fair share of mindless chug (“Possession,” “Somatically Incorrect”), a palpable groove and wild technicality keeps things both grounded and utterly batshit (“Father of Lies,” “To All That Are Dead”). Yes, the back half finds itself dwelling more in hellish menace than punishment (“Death Becomes Him,” “Messiahbolical”), but for many an introduction to Bozeman’s unmistakable roar and a chaotic technicality that left <strong>Suicide</strong> <strong>Silence</strong> in the dust, it was pure deathcore nirvana.</p><p>#2. <em>A New Era of Corruption </em>(2010) – While not as popular as <em>This is Exile</em>, <em>A New Era of Corruption </em>is everything its predecessor was and more. <strong>Whitechapel </strong>amps the dystopian and anti-religious themes with a stunning blend of its early era colossal chunk and a good use of techy leads and dissonant swells, as tracks feel more mature, fleshed out, and purposeful (“Breeding Violence,” “End of Flesh”), the darkness of progress’ terrible cost seeping through (“The Darkest Day of Man,” “Necromechanical”), and a chunky charisma not unlike <strong>The Acacia Strain</strong> (“Reprogrammed to Hate,” “Murder Sermon”<a href="https://www.angrymetalguy.com/amg-goes-ranking-whitechapel/#fn-209659-3" rel="nofollow noopener" target="_blank">3</a>). <em>A New Era of Corruption</em> was the pinnacle of <strong>Whitechapel</strong> before its self-titled reinvention.</p><p>#1. <em>The Valley </em>(2019) – Bozeman’s cleans in <em>The Valley </em>were a landmark in deathcore’s storied and bloody history, but more impressive is that <strong>Whitechapel </strong>remained remarkably deathcore – if not more devastating – in spite of them. Cutthroat brutality remained first and foremost, with shredding guitars filling every emotional crevasse (“Forgiveness is Weakness,” “Brimstone,” “Black Bear”), while clean vocals are used as moments of yearning vulnerability and hopelessness (“When a Demon Defiles a Witch,” “Hickory Creek,” “Third Depth”) and apathetic sprawls of godless wilderness reflect an existential emptiness (“We Are One,” “Doom Woods”). It’s an unflinching discussion of pain and trauma in the derelict corners of Tennessee and a vintage horror movie aesthetic that meshes surprisingly perfectly. <em>The Valley </em>is a balancing act of vicious and heartfelt, a monument for deathcore and -core styles in general, seeing <strong>Whitechapel</strong>’s longevity fully established. Every emotion on the spectrum is present on <em>The Valley</em>, an outstretched hand shrouded by the weight of doom and dread.</p> <p><strong><span><strong>Alekhines Gun</strong></span></strong></p><p>For many, deathcore represents the gateway drug to heavy music, enjoyed in your youth before you mature into “real metal” proper, discarding breakdowns and angsty lyrics for reflections on the time signatures of the universe and bigger song structures. Not so, say <strong>Whitechapel</strong>. Since erupting from the ether in 2006 and dropping their first album a mere year later, this band has remained a fixture in the metal world at large, ever growing in popularity and under the disapproving eyes of genre purists everywhere. Tours opening for the likes of <strong>Cannibal Corpse</strong> and <strong>The Black Dahlia Murder</strong> while having such luminaries as <strong>Cattle Decapitation</strong> and <strong>Archspire</strong> opening for them have established them as breakdown-heaving mainstays in a world of vests and guitar solos. To celebrate their newest release, we have opted to don our Wvmps and Pvsers hats and rank their discog for your disapproval. You gosh darn elitist ones…</p><p>#8. <em>Our Endless War</em> – The last descent into full-on arena-bent mindless groove, <em>Our Endless War</em> finds <strong>Whitechapel</strong> spinning their wheels with gleeful abandon. Any sense of techy approaches or interesting guitar was stripped down, in favor of a continued distillation of simplistic grooves over <strong>Meshuggah-</strong>In-Denial tones. Buoyed by the smash hit “The Saw is The Law” – essentially the “Living on a Prayer” of deathcore – <em>Our Endless War</em> is bland, inoffensive, and an easy choice for the bottom of the list. It’s catchy enough – a smooth, sanded-down object of easy grooves and basic-tier breakdowns with Bozeman’s vocals drowning out the riffs as if to hide how boring they are. Tailormade for an alternate universe where heavy music is played in elevators, <em>Our Endless War </em>is bland, easily digestible comfort food.</p><p>#7. <em>Mark of the Blade</em> – Still overly polished, still easy-listening, <em>Mark of the Blade</em> at least flows better as an entire album rather than merely being a factory-assembled collection of grooves. Here, the first merciful signs of restlessness in the <strong>Whitechapel </strong>camp began to be felt. “Dwell in the Shadows” and “Brotherhood” broke out some swell guitar playing, which was almost entirely lacking in <em>Our Endless War</em>, while “Bring Me Home” finally debuted those Heckin’GoshDarn clean vocals and much more dynamic songwriting. It helps that they managed to write a second “The Saw is The Law” in “The Mark of the Blade” to keep their ability for instant catchiness on display. All in all, <em>Mark of the Blade</em> manages to be slightly more interesting than its predecessor, as well as be the bookend of one era for <strong>Whitechapel</strong> while ushering in the next.</p><p>#6. <em>The Somatic Defilement – </em>This is a fun debut ruined by some moderately whack production. Much deathcore at the time had a strange predilection for light switch-click sounding drums and guitar tones thick as plywood, and just as crunchy. <em>The Somatic Defilement </em>overcomes this on the strength of its songwriting. Already avoiding the dubstep style tension-build-and-release permeating breakdowns, <strong>Whitechapel</strong> emerged from the nothingness fully formed and with a set musical vision. Its youthfulness overcomes its tonal flaws, and its roughhewn edges stand as a stark contrast to what would come later.</p><p>#5. <em>The Valley</em> – The first major shift in the <strong>Whitechapel </strong>sound since their self-titled, <em>The Valley</em> sees the band putting on the closest thing they had to prog boots. Featuring oodles and stroodles of emotive (though unfairly derided as emo) clean singing, acoustic passages and honest-to-goodness ballads, the band attempt to take the listener on a musical journey rather than merely offer up a collection of violent snippets. Songs like “Third Depth” tries to mesh the disparaging sounds with mixed results, while bouncing between tracks like “Forgiveness is Weakness” and “Hickory Creek” keep the listener in a state of tonal whiplash. Not quite as consistent as what would come later, <em>The Valley</em> is still an interesting addition to the <strong>Whitechapel </strong>canon for its efforts, if not quite its delivery.</p><p>#4. <em>Whitechapel</em> – On the heels of a pair of monster successes, the self-titled dropped and announced an immediate bid for stardom. Gone were much of the techy nuances and songwriting that actually used three guitar players, opting instead for immediate savagery and accessibility. On the other hand, this newfound sense of immediacy allowed for an excellent sense of hooks, with their old flair boiled down to moments littering songs. Bouncy leads in “Section 8” and harmonized breakdowns in “Dead Silence” showed the band hadn’t forgotten to imbibe songs with flourish and flavor, a skill that would quickly fade out as they continued their ascent to bigger and basic things. Easily the best of the middle era of albums.</p><p>#3. <em>This is Exile – </em>The Certified Hood Classic, this album dropped and almost instantly defined what deathcore was supposed to be. A massive sounding album in both writing and by production values of the time, <em>This Is Exile</em> demonstrated fantastic growth in musical writing chops and performances. Solos rip and shred, breakdowns are creatively inserted and (mostly) avoid walk-in-place stereotypes, and each song comes with personality and pizzazz. Touring it for an anniversary with <strong>The Black Dahlia Murder</strong> showed that the compositions still hit just as hard today, reminding that deathcore as a genre can be intelligent and engaging.</p><p>#2. <em>Kin – </em>A fantastic sequel, <em>Kin</em> grasps the mood swung for by <em>The Valley</em> and usurps it in every way. “To the Wolves” assault with peak modern era violence, while the flow into softer moments and use of cleans are much more organically blended. Higher use of melodic leads and atmospheric layering’s allowed the beauty to shine with the brutality, and the closing title tracks fantastic power ballad transition into synth-laden classic rock styled soloing represents everything <em>The Valley </em>wanted to be. Much more enjoyable as a full body of music rather than a collection of tracks, <em>Kin </em>sees <strong>Whitechapel</strong> grasping their musical vision in the fullest sense, with an excellent display of vulnerability and pathos littered among trademark forehead-shattering groove.</p><p>#1. <em>A New Era of Corruption – </em>Criminally overlooked by fans, criminally neglected in setlist selections, <em>A New Era of Corruption</em> is one of the greatest records in the genre. Taking every skillset from <em>This Is Exile</em> and cranking it up to eleven, this album finds <strong>Whitechapel</strong> operating at a peak they have yet to return to since. All three guitarists are on full display in the compositions; the breakdowns hit harder, the leads are techier, and the production actually sounds like a full band. Flirting with borderline <strong>Nile</strong> atmospherics in “Breeding Violence” and full on cinematic flirtations in “Unnerving”, 2010 saw <strong>Whitechapel</strong> at the peak of their powers, experimenting and tinkering and constantly challenging themselves to write better, bigger, and meaner. A genuine benchmark for the sound of deathcore, listeners can only hope for an eventual return to this ruthless display of excellent musicianship marred with ear-gauge shattering blunt force trauma. If you haven’t listened to this album in a while, you owe it to yourself to give it a spin.</p> <p><strong><span><strong>Iceberg</strong></span></strong></p><p>I’m a core kid at heart; it was one of my gateway drugs into metal. While<strong> Whitechapel</strong> lived on the periphery of my metal consumption for my formative years, the combination of 2019’s <em>The Valley</em> and the pandemic gave me the drive and time to dig into their entire catalogue. Since then I’ve always had a soft spot for the Knoxville sextet, and deathcore in general. There’s something about knuckle-dragging breakdowns, whiplash tempo shifts, and gurgly vocals that lights a fire in my icy core. And as one of <span><strong>AMG</strong></span>‘s official deathcore apologists, I jumped – nay, catapulted myself – at the opportunity to ride <span><strong>Hollow</strong></span>‘s rickety train to breakdown town.</p><p>#8.<em> Mark of the Blade</em> (2016) – <em>Mark of the Blade</em> marks the end of <strong>Whitechapel’s</strong> more-metal-than-deathcore era, and showcases a band running low on creative fuel. What’s put on record is the most radio-ready, sanitized version of <strong>Whitechapel</strong>, and time hasn’t been too gentle with her caresses. The proximity to <strong>Slipknot</strong>-esque nu-metal is at its most blatant, the breakdowns are toothless, and the songwriting feels like the band is spinning their saws for the third album in a row. Phil’s cleans make their first appearance in “Bring Me Home” and “Decennium,” and while they’re a harbinger of things to come, they feel sorely out of place here and don’t do much to right the ship.</p><p>#7. <em>Our Endless War </em>(2014) – Smack in the middle of the band’s metalcore period, <em>OEW</em> doesn’t feel as phoned in as <em>Mark of the Blade</em>, but loses some of the snarling intensity of the self-titled release. Saws are beginning to spin. Anthemic choruses are beginning to rely on the tired trope of repeating the song’s title. Breakdowns feel more at home at Knotfest than Summer Slaughter. The album has its moments, though; “Worship the Digital Age” is a bit on-the-nose but an earworm, and “Diggs Road” is a strong closer that presents one of the album’s best melodic material in its fist-raising chorus. But against what has been, and what’s to come, <em>Our Endless War</em> fades into the background.</p><p>#6. <em>The Somatic Defilement </em>(2007) – Grimy, grindy, blood-soaked, and slammy, <strong>Whitechapel</strong>’s debut showcases all the hallmarks of turn-of-the-century deathcore with the production of a greenhorn band (especially those drums). But the hunger of a young band is real; the bpm is redlined, the breakdowns are ignorant and prolific, and Phil’s vocals are at their most porcine and guttural. Tracks like “Prostatic Fluid Asphyxiation” and “Vicer Exciser” still hang with the best of them in terms of sheer stankface headbangability. While it lacks in the way of diversity, <em>The Somatic Defilement</em>’s charm has aged like fine hobo wine, and it steadily climbed this list the more I revisited it. In some ways this is <strong>Whitechapel</strong> at their most genuine.</p><p>#5. <em>Whitechapel </em>(2012) – Arguably the most transitional of all <strong>Whitechapel </strong>albums, the self-titled release sees the band with one foot in ragged deathcore roots and another in the sleek, modern production of metalcore. Tracks like “Hate Creation,” “Section 8,” and “Possibilities of an Impossible Existence” still snap necks and crush spines, but there are changes bubbling beneath. There are more breaks from the onslaught; a piano introduction here, washy acoustic guitar there, tempos dipping below breakneck speed. Overall,<em> Whitechapel </em>ends up being workmanlike, middle-aged deathcore, selling you exactly what it advertises.</p><p>#4. <em>Kin</em> (2021) – If it ain’t broke, why fix it? <strong>Whitechapel</strong> smartly took <em>The Valley</em>’s formula and ran with it, crafting a sequel that seamlessly moves from it’s predecessor (from a lyrical perspective – literally), while doing their best to improve on an already formidable blueprint. While Phil’s clean vocals have never sounded better, they can be too much of a good thing, with parts of the album sagging under the weight of these relaxed vocal passages (“Anticure,” “Orphan”). The bookend tracks are deserving of all-time playlist status, as is mid-album burner “To The Wolves,” but there’s a whiff of filler and a lack of brutality on <em>Kin </em>that keeps it from the lofty highs of <em>The Valley</em>. A fitting closer to a sordid tale but a solid middleweight in the band’s discography.</p><p>#3. This<em> Is Exile </em>(2008) – If <em>The Somatic Defilement</em> is the wind-up, <em>This Is Exile</em> is the body blow. <strong>Whitechapel</strong> burst forth in their second full-length effort – a full-throated refutation of the sophomore slump – as a true blue deathcore outfit in complete possession of their faculties. Solving the production problem of their debut makes <em>This Is Exile</em> a much more satisfactory listenable, and subsequently, this the best example of <strong>Whitechapel</strong>’s core sound. No envelopes are being pushed here, but the package is stuffed to the brim with quality. The one-two punch of “Father of Exile” and “This Is Exile” chug and blast their way through your brain stem, right up until they wrap their wretched mitts around your throat for the ubiquitous–if not a bit overdone here–breakdown. While “Possession” foreshadows the band’s metalcore meanderings to come, this album is so firmly cemented in early aught’s deathcore that it’s impossible to classify as anything else.</p><p>#2. A<em> New Era of Corruption </em>(2010) – If <em>This Is Exile </em>is the body blow, then <em>A New Era of Corruption</em> is the haymaker. <em>ANEoC</em> takes the deathcore template perfected on <em>This Is Exile</em> and pushes its brutality to new limits. The end result is an embarrassment of riches for fans of the heyday of deathcore that wields rather than relies on the breakdown. “End of Flesh” might be one of my all-time favorite <strong>Whitechapel</strong> tunes, perfectly reining in the feral instincts of earlier records while retaining their ferocity inside a clear song structure. The dissolution of the final breakdown into a distant snare drum shows an attention to detail as of yet unseen in the band’s discography. With very little fat to trim, and a tight production job that stops just short of the dreaded <em>sheen</em> (see the self-titled album), <em>ANEoC</em> is the most musically mature record <strong>Whitechapel</strong> ever put out. That is, until…</p><p>#1. The<em> Valley </em>(2019) – I’m not sure anyone really saw <em>The Valley</em> coming. <strong>Whitechapel </strong>must have, because they clearly gave shit a good shake up. Deathcore purists should stop reading here; I decree this album as nothing short of a revelation. From the dusty acoustic guitars ushering the album in and out to the much-improved clean vocals and storytelling, <strong>W</strong><strong>hitechapel </strong>bolstered nearly every aspect of their sound. Smartly returning to his concept album roots, Phil’s deeply personal and tragic story of family gone wrong breathes new life into <strong>Whitechapel</strong>’s <em>modus</em> <em>operandi</em> and cleverly shows just how far the band has come from their razorwire days. I reserve special praise for session drummer extraordinaire Navene Koperweis, who takes an already impressive history of <strong>Whitechapel</strong> drumming and enhances it with unique, progressive instincts. The album rides the sweet spot between tension and release, with just enough old school piss ‘n vinegar marching alongside the more contemplative, wizened moments (something <em>Kin</em> failed to achieve).<em> The Valley</em> is a stunning opus from a band newly emerged from their chrysalis, a dark and wounded creature that’s transcended the deathcore label and become something wholly different.</p> <p><strong><span>AMG’s Official Ranking</span>:</strong></p><p>Possible points: 24</p><p>#8. <em>Our Endless War </em>(2014) 5 points</p><p>#7. <em>The Somatic Defilement </em>(2007) 6 points</p><p>#6. <em>Mark of the Blade </em>(2016) 7 points</p><p>#5. <em>Whitechapel </em>(2012) 13 points</p><p>#4. <em>Kin </em>(2021) 17 points</p><p>#3. <em>This is Exile </em>(2008) 18 points</p><p>#2. <em>The Valley </em>(2019) 20 points</p><p>#1. <em>A New Era of Corruption </em>(2010) 22 points</p> <p>Wanna feel like a scene kid again? 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Mathias HellquistWent to a gig last night. Shadow of Intent were awesome. <br> <br> <a href="https://pixelfed.global/discover/tags/CattleDecapitation?src=hash" class="u-url hashtag" rel="nofollow noopener" target="_blank">#CattleDecapitation</a> <a href="https://pixelfed.global/discover/tags/ShadowOfIntent?src=hash" class="u-url hashtag" rel="nofollow noopener" target="_blank">#ShadowOfIntent</a> <a href="https://pixelfed.global/discover/tags/Revocation?src=hash" class="u-url hashtag" rel="nofollow noopener" target="_blank">#Revocation</a> <a href="https://pixelfed.global/discover/tags/Vulvodynia?src=hash" class="u-url hashtag" rel="nofollow noopener" target="_blank">#Vulvodynia</a> <a href="https://pixelfed.global/discover/tags/Metal?src=hash" class="u-url hashtag" rel="nofollow noopener" target="_blank">#Metal</a> <a href="https://pixelfed.global/discover/tags/Death?src=hash" class="u-url hashtag" rel="nofollow noopener" target="_blank">#Death</a> <a href="https://pixelfed.global/discover/tags/DeathCore?src=hash" class="u-url hashtag" rel="nofollow noopener" target="_blank">#DeathCore</a>
$: Iam_jfnklstrm<p>Tänker nog kika på dem igen - skönt rens!<br><a href="https://social.linux.pizza/tags/cattledecapitation" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>cattledecapitation</span></a> <a href="https://social.linux.pizza/tags/sthlm" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>sthlm</span></a> </p><p><a href="https://youtu.be/ksCKFkioYL8?si=UdZ_6JCXuk6eqZRC" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">youtu.be/ksCKFkioYL8?si=UdZ_6J</span><span class="invisible">CXuk6eqZRC</span></a></p>
Angry Metal Guy<p><strong><a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/" rel="nofollow noopener" target="_blank">Monument of Misanthropy – Vile Postmortem Irrumatio Review</a></strong></p><p><i>By Thus Spoke</i></p><p>If you’re squeamish…skip this paragraph. Or don’t, because any good fan of death and grind should be ok with a little gore. <em>Vile Postmortem Irrumatio </em>continues <strong>Monument of Misanthropy</strong>’s recent trend of writing albums centred around certain serial killers, following 2021’s eponymously-titled <em>Unterweger </em>(about Austrian-born killer Jack Unterweger). This time, the subject is Ed Kemper, whose crimes might have been indistinct from the many other misogynist multiple-murderers of the late sixties and early seventies were it not for his particular habit of decapitating his victims post-mortem, and…orally copulating with the heads. He did this not only with the six co-eds he killed, but also his own mother. If you didn’t know what <em>irrumatio</em> meant, now you do. Death metal is far from estranged from the violent and depraved, and <strong>Monument of Misanthropy</strong> again live up to their name and genre bracket with an example of one of history’s more violent and depraved men, and an excuse-for-misanthropy of a human being. How does the music fit its subject?</p><p>As album number three, <em>Vile Postmortem Irrumatio</em> cements the band’s sound as a lean, mean, deathgrind machine. As much a product of the stomping, crushing aggressiveness of the old style as the cutthroat, technical, mania of the new. Now leaning harder into the slick and twisted speed alongside sharp, scaling riffs, <strong>Monument of Misanthropy</strong> now sound a bit like if <strong>Cattle Decapitation</strong> had a baby with <strong>Aborted</strong>, minus the goblin cleans of the former and a large portion of the urgent melodies of the latter. Recognizable from previous efforts, the music is that much slicker, faster, and absolutely face-destroying. Speaking as someone who’s not typically this genre’s hugest fan, the album’s relentless pace, groove, and malice infectiously wormed their way into my brain, bringing a smile to my face, and an unstoppable repetitive bang to my head. Because, it’s clear, from the <em>raison d’être</em> of death metal as a whole to the specific instance of <em>Vile Postmortem Irrumatio </em>itself, that none of this is to be taken seriously, or as any glorification of Kemper. It’s morbid fascination, with a healthy sense of humor. And so the gleefully extreme guitar-wrangling and clustering drum-battering are simply thrilling, and the interview samples<a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/#fn-200930-1" rel="nofollow noopener" target="_blank">1</a> that divide the record have that perfect horror-movie chill, enhanced by the building of creepy synth-accented accompaniment.</p><p></p><p><em>Vile Postmortem Irrumatio</em> works because it’s a lot of things masquerading as only one thing. You think you’re getting a slab of dumb, silly-heavy fun (and you are), but crammed into that hulking,<a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/#fn-200930-2" rel="nofollow noopener" target="_blank">2</a> brutal body is much more. There’s unexpectedly aesthetic minor melodies soloing and swooping over the gory blastbeats and bass churning (“Manipulating the Experts”, title track, “A Nice Beheading for MoM”). There’s groove aplenty (“The Atascasdero Years,” “The Devil’s Slide,” “A Nice Beheading…”). There are vibrant flashes of electrifying tremolos and lurching disso-death shivers irreverently joining forces (“Hits One and Two,” “The Devil’s Slide,” “Your Treachery Will Die with You”). There’s a satisfying range of vocal styles, from guttural gurgles to squealing screams. What might sound like a set of Barnum statements for modern brutal death metal, really only applies to the top-shelf stuff, the stuff that gets people like myself, who struggle with the death metal pedigree, on board. Riffs, vocal delivery, and the crucial percussive factor<a href="https://www.angrymetalguy.com/monument-of-misanthropy-vile-postmortem-irrumatio-review/#fn-200930-3" rel="nofollow noopener" target="_blank">3</a> are punchy as fuck, rhythmically smacking you about the head to a series of slamming (“Pueblo Paranoia”), bouncing (“A Nice Beheading….”), buzzing (“The Atascasdero Years”), stomping (title track) swings. This hits hard in the most enjoyable way.</p><p>You would think that inserting multiple instrumental, interview-sample-bedecked interludes would cause issues for flow. Ok, it does, a tiny bit, but really not very much, and in this regard <strong>Monument of Misanthropy</strong> have come leaps and bounds beyond <em>Unterweger, </em>where the spoken-word sections did jam up the gears a bit. “Why Did You Keep the Heads” comes the closest to compromising the album’s momentum, but it still falls naturally within the structure of the record’s story, its concept. Opener “First Time It Makes You Sick To Your Stomach” and later “Oh, I Suppose You’re Gonna Want To Sit Up And Talk All Night Now” are unironically creepy in the aforementioned horror-movie way, and amp up the suspense quite brilliantly before their respective following tracks come tearing in. This, in combination with the sheer ease with which the music pulls off its tricks, make its jams pretty memorable. And we haven’t even got to the obvious implications for lifting abilities with literally any of the (non-interlude) cuts blaring in your ears.</p><p>There remains a question of the true longevity of <em>Vile Postmortem Irrumatio</em>, but a considerable part can be attributed to a snobbishness towards the genre. It’s loud, and it’s certainly not pretty—proclaiming a DR that <em>isn’t</em> 3 only because of it’s very dynamic interludes—but it is a slick, nasty, solid bit of fun. And from a brutal death metal album about a necrophilic serial killer, what more could you possibly ask?</p><p><strong>Rating</strong>: Very Good<br><strong>DR</strong>: 5 | <strong>Format Reviewed</strong>: 320 kb/s mp3<br><strong>Label</strong>: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity</a><br><strong>Websites</strong>: <a href="https://monumentofmisanthropydm.bandcamp.com/album/vile-postmortem-irrumatio" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/OfficialMonumentOfMisanthropy.BrutalDeathMetal/" rel="nofollow noopener" target="_blank">Facebook</a><br><strong>Releases Worldwide</strong>: August 9th, 2024</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aborted/" target="_blank">#Aborted</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug24/" target="_blank">#Aug24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/austrian-metal/" target="_blank">#AustrianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/brutal-death-metal/" target="_blank">#BrutalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cattle-decapitation/" target="_blank">#CattleDecapitation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathgrind/" target="_blank">#Deathgrind</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/grind/" target="_blank">#Grind</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/monument-of-misanthropy/" target="_blank">#MonumentOfMisanthropy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vile-postmortem-irrumatio/" target="_blank">#VilePostmortemIrrumatio</a></p>