Thrown Into Exile takes an “in your face” approach with the majority of their four track debut EP. Thrown Into Exile wastes no time with an intro to set up the first song entitled ‘Not Alone’, which also happens to be my favorite one off the release. The tune begins with an infectious guitar riff that leads into a merciful metal shriek. The remainder of the song captures the aggression and tone that was initially presented for the listener. Most of the song and EP draws influences from Killswitch Engage, As I Lay Dying, and Devildriver.

The whole release, in fact, is very punishing from start to finish. One of the highlights is the meaty guitar solo near the end of ‘Never Ending Battle’. It is able to showcase the technicality that is available at Thrown Into Exile’s disposal. Chugging guitar riffs are a plenty! The drums do much homage to the sound that the band was trying to bring about. Ranging from thrash to traditional rock patterns, Chase incorporates his own personal style to blend a signature sound. Evan’s vocals are spot on for the genre of metal they produce. The high shrieks and mid growls are definitely praise worthy. The more “clean” vocal style was a bit hard for me to get into, even after countless play-throughs. Then again, you won’t be able to mistaken them for another band. The bass makes itself present when needed, but doesn’t shine as much as I was really hoping it would. The two tracks that stood out to me were ‘Not Alone’ and ‘Doppleganger’. Both of them felt much more powerful than the other two on the EP.

Thrown Into Exile is definitely a band that will be around for years to come. With the pace they are keeping, they are on track to joining the ranks of their influences in no time. Thrown Into Exile’s self titled EP is worth a listen if you are into more fresh metalcore sound. If this EP is a product of what happens when you are damned to exile, then sign me up.

Thrown Into Exile’s self titled EP scores a 7/10.

You can stream the full EP via Spotify or purchase the album via iTunes.

The moment that the first song, ‘The Invention Of Hatred’, had starting playing it was an instant infatuation. A crescendo into the demonic sounding lyrics, “Am I the invention of hatred, or was hatred born in me?”, gave me chills to the core. The tune is incredibly reminiscent of Allegaeon’s guitar riffs mixed with a much darker side to Lambesis’ vocal style. If As I Lay Dying, Allegaeon, and Behemoth were to have had a child, Pyrithion would be the offspring. The very fast pace of the whole song is enough to get the blood pumping vigorously through your system. Twice through the song were guitar solos that were accompanied very well by the rest of the group. It was composed of straight up blast beats and guitars that shredded hard. It was interesting to hear Tim’s harder vocal style. In fact, I enjoyed them a whole lot more than his vocals in As I Lay Dying. The lyrics were completely different than any other of Tim’s releases. Lyrics about hate and suffering are about as opposite on the spectrum as it gets when comparing them to As I Lay Dying’s lyrics. They were a highlight on this EP that I was not expecting.

The two other songs on the EP were pretty well done too. ‘Bleed Out’ and ‘Rest in the Arms of Paralyzed Beast’ both had respective shining moments. ’Rest in the Arms of Paralyzed Beast’ was probably my favorite song off of “The Burden Of Sorrow”. It had more of an ambient feel and engulfed me entirely for the 5 minute duration. There is a heavy breakdown around the 3 minute mark which emerges from a section that builds up to it. The set up was done very well which made the death metal fashioned breakdown even more destructive.

If you are a fan of groups like Behemoth, Obscura, and/or Abysmal Dawn then Pyrithion will be an essential asset to your collection. Though it is only a 3 song EP, it is merely a taste of what we can expect from Pyrithion in the future. Also, if you were wondering Tim, hatred WAS born in you.

“The Burden Of Sorrow” scores an 8/10.

Metal Blade Records will be releasing “The Burden Of Sorrow” on April 16. You can pick it up at your local record store or preferred online retailer.

Your Blessings”. “Suicide Season” was the follow up to said album, and fans were dismayed to find that Oli had ditched the majority of his high-pitched screaming and relied more on his lower range while moving into a more original sounding type of yelling (for lack of a better term). “There Is A Hell Believe Me I’ve Seen It, There Is A Heaven Let’s Keep It A Secret”, the band’s third full length, saw an even more drastic change in style. Though they lost some fans from this, they also gained the respect of other, perhaps more mature and seasoned metal fans due to their newly found progressive-metal style. The band dove into a new, somewhat lighter style, which was complimented by various synth-based concepts and other effects that gave the album an original sound. Their new sound is often referred to as “the wall of sound”. Once again, Sykes’ vocals consisted primarily of mid-ranged yelling, and very few of his famous deathcore styled vocals. The band’s most recent release, “Sempiternal”, took a similar route to the previous album, while incorporating some new ideas and solidifying their progressive-metal style. The album is highlighted with interesting, almost pop-sounding, synth leads along with their signature wall of noise sound. Sykes even experiments a little bit with singing and this plays out very well. Though it may not be as memorable as the previous album, this record does not disappoint by any means.

The album kicks off with ‘Can You Feel My Heart’, a track that is definitely a highlight of the album. The track’s intro is dominated by a synth lead that sounds unfamiliar to BMTH fans. When the vocals kick in, we are introduced to Sykes’ new vocal sound. Sykes engages in a raspy, singing type of vocals that sounds both fresh and impressive. This vocal style is a reoccurring thing throughout the album, and is definitely a plus. On “There Is A Hell”, BMTH utilized verses containing guitar work which was that of a minimalist, and this is implemented here as well. Simple guitar melodies and beautiful chord progressions add to that atmospheric, ambient wall of sound that BMTH has grown to be famous for. The next track, ‘The House Of Wolves’, possesses a more aggressive feel to it, which can be compared to the heavier tracks on the previous album such as ‘Alligator Blood’ and ‘Fuck’. While this song is not a strong point of the album, it does show the versatility and diversity of the album. The next track, ‘Empire (Let Them Sing)’, certainly is a high point of the album. The track blends heavier guitar tones with a lighter synth feel along with hard hitting drums and an overall darkened field. This song exemplifies BMTH’s signature sound perfectly. Another great thing about this album is the production; everything is crystal clear and hard hitting, and it makes the album that much more enjoyable. Following this track, ‘Sleepwalking’ keeps the album rolling. This song, like some of the others, contains a somewhat-poppy synth lead in the intro, but when the guitars come in, there an uplifting feel to the chord progression. It still contains a little bit of eeriness to it, which is something that BMTH has always done a fine job of retaining. The rest of the album, for the most part, is more of the same. The album’s 2 lead singles, ‘Anti-Vist’ and ‘Shadow Moses’ are, oddly enough, probably the weakest points of the album. Do not be deceived by these tracks, as they are somewhat misleading.

All in all, as I said earlier, “Sempiternal” certainly does not disappoint in the least bit.  Providing that BMTH continues to put out more albums, I am led to be that this is the general sound that they will stick with. Over the course of the last 2 albums, the band was searching for their style, and I believe they have finally found it. For all of the serious deathcore fans out there, this may disappoint you, but for everyone else, I believe that there is an abundance of enjoyable aspects to be found within this album. Bring Me The Horizon, I believe, will continue to wow the metal scene for years to come.

Overall rating: 8/10

Written by: Alex Zarek

“Sempiternal” is OUT NOW via Epitaph Records and can be picked up at your local record store or preferred online retailer.

Jungle Rot wastes no time in getting straight to the roots of their trademarked death metal 
sound with their first track, ‘Voice Your Disgust’. Contrary to the song title, I can’t really say anything negative about the track. The tune is a fantastic way to start off “Terror Regime”. With initial anticipating riffs and the rest of the ensemble to back up the vicious ferocity, Jungle Rot have established a foundation that the rest of the album sits firmly upon. From thrashy headbanging riffs to groovy passages, it is another album that the group can say is nothing short of becoming a heavy metal classic.

For those unfamiliar with the origin of the band’s name, jungle rot was a foot infection that was common during the Vietnam War when soldiers’ boots had gotten wet and were left on. The name is very fitting for the music Jungle Rot produces. Almost every song feels as if it is a war anthem for an oncoming onslaught. The drumming is heavy and varies from breakdown patterns to barbaric blast beats. Almost every tune on “Terror Regime” has a guitar solo that is original in its respective context. Vocals are just as profound as they were in Jungle Rot’s discography. Dave’s vocals are so distinct and unlike any other death metal vocalist in the scene. He makes sure that once you listen to a Jungle Rot song, you will never mistaken the group for anyone else.

 ”Terror Regime” still sticks true to Jungle Rot’s main theme of war and the atrocities that are associated with it. With songs like ‘Terror Regime’, ‘Rage Through The Wasteland’, and ‘Ruthless Omnipotence’, it is evident that the band’s inner hatred shines. The more that I listen to this record, the more I find myself bobbing my head. There are chugging sections that are pursued with a sludgy, stimulating Dying Fetus feel that put Jungle Rot one step ahead. One song, ‘Carpet Bombing’, had caught me by surprise with my initial listening to “Terror Regime”. It sticks out like a sore thumb on the record. ‘Carpet Bombing’ is the one track that is significantly shorter in length and has a very strong grindcore feel to it. As interesting as it was to experience a grind side to Jungle Rot, I wish that they had expanded a little bit more with it.

“Terror Regime” is jam packed with malicious anthems that the listener is forced into combat with. The songs that I had personally enjoyed the most were ‘Terror Regime’, ‘Blind Devotion’, and ‘Scorn’. If you are a fan of Suffocation, Gorguts, and/or Vomitory, then Jungle Rot is an essential asset to your metal collection. If you have the stomach to muster just under 35 minutes of their heart stopping metal, welcome to Jungle Rot’s ever-growing brigade. This is a fever that you can’t sweat out.

Jungle Rot’s “Terror Regime” scores a 9.5/10

“Terror Regime” will be released worldwide on March 19th via Victory Records.

“Violence” starts off with the track ‘Dead By Dawn’. Wasting no time for an “intro” track, the band commences the record with a punishing breakdown that sets up the listener for the rest of the album. The track features all the constituents that are comprised within the release. Breakdowns, chugging, aggressive drumming, and destructive vocals all help create a sound that Tear Out The Heart keep homogeneous throughout the production.

“Violence” is nothing new or groundbreaking in regards to the metalcore style. In fact, many of Tear Out The Heart’s songs have a similar pattern and sound like one another. Though this can be seen in a negative perspective, it shows that the ensemble is consistent with their writing. The album name itself is a good description of how some songs off the record feel. VIOLENT. Breakdowns are imminent in virtually every tune and always seem to hit a lot harder than I am expecting them to. The destructive nature of each song provides a happy medium for fans of metal ranging all across the spectrum. Infectious choruses are one of Tear Out The Heart’s fortes. I found myself humming the chorus to ‘Dead By Dawn’ mere moments after listening to it.

The musicianship on “Violence” is what you would expect for a metalcore album. There weren’t many technical riffs or passages that were composed. Their basic song structure remained imminent throughout all of the record. Tear Out The Heart is definitely capable of writing sections with solos and will hopefully inject a few into their next album. The drumming was up to par in accompanying the guitar riffs and bass licks. Vocals ranged from low growls and high screams to clean singing passages during the chorus section of every song.

If you were a fan of Tear Out The Heart’s “Hell Is Empty” EP, then you will be a fan of “Violence”. A little under 40 minutes of heart stopping metal is packed into “Violence”. I did find some tunes to be a bit more stale than others, but still made enough of an impression and were still enjoyable. The songs that I had kept putting on repeat were ‘Dead By Dawn’, ‘Crucified’, ‘Undead Anthem (which features Caleb Shomo of Beartooth, ex- Attack Attack!), and ‘Feed Me A Stray Cat’. If you are a fan of metalcore, then Tear Out The Heart would be an ideal addition to your musical library. Please note: Tear Out The Heart is not responsible for any heart attacks you may receive while listening to “Violence”.

“Violence” scores a 7.75/10

“Violence” will be released worldwide through Victory Records on March 19, 2013.

Within The Ruins’ discography is very unique because all their releases have their own respective concepts, all while sticking true to their original roots as a band. They do a phenomenal job of creating a certain sound for themselves. Every one of their songs has the signature sound that fans can recognize instantly. Sticking out from the crowd is difficult for metalcore bands and Within The Ruins have found a formula that works heavily in their favor. The ensemble can be compared to the likes of After The Burial, Veil Of Maya, and Born Of Osiris.

Within The Ruins is full of breakdowns, shreddy guitar riffs, pummeling drums, and vocals that are sure to give you an earache. One of the admirable qualities about this group is that their use of breakdowns and chugging is used somewhat frequently, but is either accompanied or followed up with technical guitar passages which makes for a palate cleanser compared to other bands who use breakdowns and chugging to an excess and take the listener nowhere. The introduction song ‘Terminal’ is actually the exact opposite of what the last sentence declared. ‘Terminal’ is a little over a minute in length and sets up the listener with the metal barrage that is to ensue for the next thirty eight minutes.

The first true song on “Elite” is called ‘Solace’. From the very first second it shows off how powerful the chemistry is between all the members. Everything about the track flows so smoothly which proves that Within The Ruins’ musicality is at an all time high. Joe’s guitar work really shines on ‘Solace’, which could also be said about the rest of the album. Kevin (also known as “Drummer”) really shows off his talent behind the set. Not only does he have the chops to accompany the riffs, but adds his own spin to the music. Each song has a little something special that “Drummer” was able to infuse into. Andrew’s bass work pulls through on “Elite”. It definitely does homage to Joe’s shredding, but could have been utilized a bit more. If there were some bass solos that were more evident on “Elite” it could have put the record on a much higher pedestal. Tim’s vocals aren’t anything new to the metal scene. There are the typical low growls with mid-screaming with some high screams used sparingly. Though the vocals are nothing groundbreaking, they sure add a crucial element to Within The Ruins’ sound as a whole. It just wouldn’t be Within The Ruins without them.

Photo Credit: SEEKart

Every single song on “Elite” is fast, relentless, and passionate. When hearing songs like ’Feeding Frenzy’, ‘New Holy War’, and ‘Elite’ it is evident that the group put in grueling hours to perfect their craft. One of my favorite songs off of the record is called ‘Ataxia II’. There is a song called ‘Ataxia’ off one of Within The Ruins’ earlier albums (“Invade”) and ‘Ataxia II’ is like the continuation of where ‘Ataxia’ left off. Both ‘Ataxia’ and ‘Ataxia II’ are instrumental tracks. ‘Ataxia II’ showcases not only the skilled musicianship of the members, but also their innate creativity to produce a song that stands to the ranks of the other songs on the record.

Within The Ruins was able to successfully create a monstrous album that is sure to become a household standard of metalcore/deathcore in the future. Combining elements of traditional deathcore and modern metalcore, Within The Ruins can easily be considered one of the leaders in their respective genre. “Elite” proves that Within The Ruins show no signs of slowing down and will decimate all that stand in their way. You’re either with them, or not at all.

“Each honest calling, each walk of life, has its own elite, its own aristocracy based on excellence of performance.” – James Bryant Conant

“Elite” earns a rating of 9/10.

“Elite” will be released on February 26th through E-One/Good Fight Entertainment. The album can be purchased through your preferred online retailer or your favorite local record store.

The whole idea behind Serpents is that there is something beyond the music. Mikhail states, “Serpents are a movement, an idea of a musical and artistic liberation.” Pretty deep stuff. The album name is derived from the Assyrian and Babylonian goddess of fertility, war, love, and sex known as Ishtar. All four of those characteristics are pretty metal, in my opinion. I am assuming that the album art is depicting the goddess, Ishtar.

The album was not all done just by Mikhail (Vocals, guitars, bass, programming). There was collaboration from Derek Moffat with the mixing/mastering process and Dusty Boles on the drums (ex – Make Me Famous, Rose Funeral). “Born Of Ishtar” has a solid length of just surpassing the 42 minute mark, making for an elongated listening experience. From the moment the first track (‘The Era Of Oblivion’) begins, the listener is shoved into a new realm. The almost minute long introduction sends strong vibes of an ancient Egyptian setting. If you could imagine Nile, Behemoth, and Whitechapel forming as one, Serpents would be the outcome. ‘The Era Of Oblivion’ is full of riffs that are reminiscent of Pharaohs and scolding Gods, which could also be said about the rest of “Born Of Ishtar”.

 The progressiveness in Serpents’ music balances well with the alluding chugging that normally follows suit. Boles’ drumming adds a whole new dimension to Mikhail’s concept. Ranging from breakdown patterns to malicious blast beats, “Born Of Ishtar” has the best of both worlds. It’s great to see that Boles has the chops to not just drum the same monotonous chug chug breakdown beats, which were dominant in Make Me Famous. Mikhail proves to be very talented with the guitars, bass, and vocals. I really wish there would have been some guitar solos. The only one I really heard was in the track ‘The Punishment Of Existence’. It could have shot this album to a whole new level. All of the instruments shined on the record, but unfortunately I can’t say the same with the vocals. “Born Of Ishtar” felt really inconsistent with the vocal style. At times they sounded fantastic and at other times they sounded weak. Also, there were sections where the vocals are drowned out by the rest of his band.

It felt to me that “Born Of Ishtar” was split in two sections. All of the tunes leading up to the instrumental track ‘The Requiem’ was one half, and the rest of the album was the other half. ‘The Requiem’ was a pretty powerful instrumental. It was filled with flowing passages and had a sense that spiritual energy was seeping into my ears. The other instrumental on the album is the penultimate tune entitled ‘The Epilogue’. It is mainly piano with some minor programming accompaniment. The transition into the final song ‘The Shadow Of Timelessness’ is flawless and hits the aural cavity as if the Egyptian God Ra is commanding war. The songs that I had continuously put on repeat were ‘The Era Of Oblivion’,  ’The Herald Of Heresy’, and ‘The Punishment Of Existence’.

Overall, Mikhail managed to bring forth a whole new breed of metal to the table (blackened deathcore as he coined it). The forces within the music muster a quality that many bands lack. Serpents managed to summon the potency of heavy deathcore and melded it with the intensity that is given in a death metal fashion. Once the serpent bites, the venom flows in your blood to the point of inevitable headbanging. To my knowledge, there is no cure.

“Born Of Ishtar” scores an 8/10.

“Born Of Ishtar” was released on February 5th via Trve Media.

You can purchase the album via iTunes HERE

Packed with breakdowns and monstrous riffs, Continents make it a point to put themselves in the foreground of the metal scene. Formed in 2010, the ensemble has achieved a vast amount of praise in the little time they have been playing together. After only one year of forming, the group had obliterated competitors by winning the contest of most favorited UK YouTube Metal Act. Having success after success, Continents have yet to pump the brakes.

“Idle Hands” clocks in just shy of the 37 minute mark. The 12 track record can easily be spun multiple times without losing the initial listening effect. The introduction track, ’224′, starts off with feedback that morphs its way into a powerful riff guaranteed to make you bang your head. When the full band comes in, the listener is bombarded with a catchy riff that sets up the rest of the record. Most of “Idle Hands” is composed of simple, yet very effective guitar work that will repeat over and over in your head. Though the group is not the most technical on the scene, the infectious phrases are incredibly groovy. Continents does a fantastic job of balancing a true hardcore feel as well as incorporating melodic passages that balance out very well.

Continents is not your typical hardcore band that painfully regurgitates chugging and breakdowns to the point of sickness. Though there are massive breakdowns and chugging at times, it is perfectly balanced with progressive passages that are almost just as heavy. The song ‘Pegasus, Pegasus’ wraps up what Continents is all about in one swift song. There are breakdowns, bone crushing drums, and vocals ranging from screams and lows to clean passages. Any metal-head can put on this song and find something that they enjoy about it. The breakdowns in the middle of ‘Truth And Lies’ and ‘Lion’s Den’ are absolutely massive. Continents stepped up their A-Game being able to transition into something that heavy and leave the listener in an aura of melodious fretwork post breakdown.

One of the reasons I was so stoked to hear “Idle Hands” was when Continents released their single, ‘Trials’, late last year. The re-recorded version on the album sounds absolutely enormous and is one of my favorite songs on the record. ‘Trials’ also contains a passage of my favorite lyrics: “If you’re not dreaming, then you’re just sleeping.” How true is that? Other songs that I have been putting on repeat include ‘Idle Hands’, ‘Pegasus, Pegasus’, and ‘Exhale’. It’s a bit unfortunate that I wasn’t experiencing as much bass as I was hoping to. The bass part definitely shines at points, but there could have been more of a presence all around. The way “Idle Hands” ended felt a little too abrupt for my taste. There could have been some sort of melodious passage that wrapped up the album.

Overall, Continents’ “Idle Hands” is a great way to start off the new year with metal releases. The record is filled with so many passages that just make you want to get up and groove while headbanging. If you are a fan of Counterparts, The Ghost Inside, and/or Gideon then Counterparts is worth your time to familiarize yourself with. “Idle Hands” earns a respectable 9/10. Continents have secured a spot on the metal map and show no sign of disappearing anytime soon… (pun intended?).

“Idle Hands” was released via Victory Records on January 22, 2013.

You can purchase the album at your local record store or preferred online retailer.

When I had heard that the band was going to be releasing a brand new full length entitled “Dingir” (pronounced din-jeer), I was very skeptical as to how it would compare to their debut. Due to legal reasons and a poor quality of “Dingir” being leaked on the internet, Rings Of Saturn decided to give away “Dingir” free of charge in hopes that listeners will purchase the album on February 5th. Having constant lineup changes, it worried me that the group would have trouble finding the same sort of chemistry that made their debut such an instant hit. Upon concluding the very first tune off of “Dingir”, I already knew that Rings Of Saturn was light years ahead of “Embryonic Anomaly”. Every member aboard the mothership had soared past my expectations and created a record that is guaranteed to probed into the minds of minions across various multiverses.

The start of “Dingir” is introduced by the first song entitled ‘Objective To Harvest’ where the mysterious 10 second introduction leads into a slamming riff that takes off like a flying saucer soaring at the speed of light. The rest of “Dingir” can be summarized as a constant high octane ride through the galaxy. There is not a single dull moment in the album. Mann and Omans were able to construct highly technical riffs that were able to keep the listener intrigued and entertained. They were able to keep true to what got fans hooked on the band in the first place. The interludes that are thrown in some songs felt so natural and oozed with creativity. An example would be near the middle of the song ‘Faces Imploding’. Rings Of Saturn do have a soft spot in their extra-terrestrial hearts. The melodic section and solo at the end of ‘Fruitless Existence’ was quite beautiful. It reminded me a whole lot of the song ‘Pouring Reign’ by As Blood Runs Black. Another characteristic that I enjoyed about “Dingir” was that breakdowns weren’t thrown into songs just for the hell of it. Not one song had that slow, grimy feel as some deathcore bands do. Much of the music was “in your face”, which was great at some points in the album and felt a little unnecessary at other times.

The rest of the band had to accompany some of the craziest shredding in this galaxy and were able to pull it off rather well. The backbone of this space beast was drummer Ian Baker. His drumming was nothing short of jaw dropping. Blast beats and breakdown patterns were used constantly throughout the record. Unfortunately, I was not the biggest fan of the drum sound. It wasn’t a total deal breaker and I was able to look past it. Sean Martinez is a crucial member to the band playing bass, but it was barely audible. There were times where it pulled through and sounded fantastic. ‘Immaculate Order’ has some great bass features. Last, but certainly not least, Ian Bearer’s vocals were a fantastic touch to the rest of the band. They aren’t anything new or ground breaking, but they definitely pulverized on “Dingir”. Songs that I had kept listening to were ‘Objective To Harvest’, ‘Shards Of Scorched Flesh’, ‘Fruitless Existence’, and the instrumental track ‘Utopia’.

Overall, Rings Of Saturn definitely pulled through on “Dingir”. Every fan of the band should be more than happy with this release. If you are a fan of bands like The Faceless, Abiotic, and/or Fallujah, then Rings Of Saturn is an artist that should immediately be added to your media library. “Dingir” earns a solid rating of 8/10. If you aren’t screaming “Take Me To Your Leader!” after listening to this record…well…you should probably sleep in the cryogenic chamber a bit longer.

“Dingir” can be streamed for free via Total Deathcore HERE or through the YouTube link below. The album is slated for a release on February 5th, 2013 via Unique Leader Records. You can pre-order the physical copy and other various merch bundles HERE.

NOTE: A free download of “Dingir” in its entirety can be found at the Total Deathcore link above.

Infant Annihilator is a bit different than most bands. They are considered an “e-band”. The group consists of guitarist/bassist Eddie Pickard, drummer Aaron Kitcher, and vocalist Dan Watson. Eddie and Aaron both reside in the UK and Dan lives across the pond in the USA. I am unsure as to how they hooked up as a group, but the chemistry between all of them really pulls through on their debut record, “The Palpable Leprosy Of Pollution”.

“The Palpable Leprosy Of Pollution” is unique in a way that the whole album’s music is based around the concept of  the corruption of Christianity. Topics that are covered in the record are murder, child rape, and mass programming. The band commented that the lyrics in “The Palpable Leprosy Of Pollution” are all about a corrupted priest who is participating in all of the topics listed. Lyrics like “I have brought forth Hell to Earth just to show God what it’s worth. His kingdom shall rot forever. I have no sympathy for God.” and “You have been gathered here to kill every child under two; every pregnant mother too. We will stop the second coming of Christ. I the Pope bow to no one – yet alone bow to God.” are two examples of what one can expect. Yes, this album is definitely controversial all around.  If you can get past all that, the music itself is very fresh and stands out from almost every previous deathcore release.  

“The Palpable Leprosy Of Pollution” consists of 16 tracks. The first and last tracks are the only songs that do not contain any lyrics. The album starts out with intro song, ‘New Born Porn’. A morbid and eerie tune with babies crying leads into the first true song on the album, ‘Infant Annihilator’. The slamming breakdown that the listener is forced into is already very different than the numerous breakdowns I have heard from other bands. The fact that Infant Annihilator is able to recreate that same aura in almost every song on the album is a feat itself.

Every song is full of riffs that span from traditional deathcore fashion to technical death metal. Occasional solos are sprinkled in throughout the album, which clearly showcases the skill Eddie possesses. Aaron’s drumming is nothing short of incredible. There is never a moment where the drums are not present with gravity blasts, blast beats, and breakdown patterns. Dan’s vocals are absolutely horrifying (and I mean that as a compliment). The guttural lows and piercing highs are very common in metal music, and his vocal cords produce such a unique tone that is very difficult to forget.  

The album is not perfect by any means, but can easily be put in the top 3 deathcore releases of 2012. One part of the album that I really did not find to be pleasing was the drum sound. It was incredibly synthetic, and some parts during my listening experience felt that it was just too much. At times the music was incredibly hectic with bass, that the sound actually distorted in my headphones. There were also some tunes that I felt were more “filler” and may not have received the full attention that others had received. Songs that I had found myself coming back to listen to were ‘Decapitation Fornication’, ‘C*ntcrusher’, ‘Devotion To The Child Rape Syndicate’, and ‘Flayed And Consumed’ (which featured Lucas Mann of Rings Of Saturn).

Infant Annihilator was able to successfully take a genre that was growing a bit stale, and shot it to a whole new level. If anyone ever were to ask what a deathcore band sounds like, “The Palpable Leprosy Of Pollution” would be the best example. This band emerged really out of nowhere and have gained a substantial fanbase in under a year. I am eager to see what the future holds for them. Hopefully my future children will be alive to listen to this album…               “The Palpable Leprosy Of Pollution” scores an 8/10.

“The Palpable Leprosy Of Pollution” was released independently with association with Total Deathcore on December 12, 2012.

You can purchase “The Palpable Leprosy Of Pollution” HERE.