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I’m not entirely too sure on how I stumbled across this album in the first place, but I can’t exactly say I’m thrilled that I did. Bloodred Salvation is your rather standard heavily melodic death metal influenced metalcore album, which ultimately offers very little to differentiate it from the countless hordes of metalcore bands with the exact same approach. While it’s perhaps slightly more melodic than your average release from the genre, it still fails to really engage your attention despite its competent musicianship and excellent production, and overall is nothing more than just another uninspired and unmemorable record.
Opening up with a short, highly predictable instrumental track, Fall of Serenity lay no time to waste in displaying their boring and unimaginative song-writing abilities. This here is the album’s main problem, as not once does anything really unexpected occur and genuinely grab you by surprise. Sure, the Dark Tranquillity inspired keyboard work gives the album a nice touch, but that’s about it; it’s merely nice, and simply inserting a few synth-laden melodies every now and then isn’t going to magically make the music that much more interesting. The beautiful piano interlude making up the title track however is very well done, evoking a haunting and melancholic atmosphere, yet allowing this faint glimmer of optimism to shine through due to the subtle key changes from minor to major. Unfortunately, this sense of hope is soon crushed, with the following track delivering the same basic pattern of the other songs, with perhaps marginally more brutal riffing compared to the string-skipping and tremolo picking prevalent throughout the majority of the album. However, the guitarists have also managed to beat these riffs and grooves to death with painful repetition, and the breakdown that concludes the song hammers the final nail into the coffin.
The drummer also shows very little variation especially with his double bass, mainly sticking to mid-paced, single-stroke foot work with the occasional syncopated pattern during the half-time grooves. The blasting is a mixed bag, as his blast beats with an off-beat snare are really solid while his standards blasts are quite weak and sound rather sterile and mechanical. There are also some impressive fills scattered about and the drumming on the last two tracks is actually remarkably impressive compared to the majority of it, but overall it really doesn’t blow you away like it should and will just leave you sitting there unimpressed.
Consisting of your fairly average combination of harsh screams and deeper growling all with a strong metalcore tinge, the vocal performance is nothing out of the ordinary too, particularly the half-sung, half-yelled lines which are utterly atrocious. The overall sound has that distinct German melodic death metal/metalcore vibe to it as well, sharing many similarities with the likes of their fellow countrymen Neaera, Caliban and Heaven Shall Burn. But honestly, what the hell is the point in taking note of all this when the aforementioned along with the thousands of other artists are playing the exact same thing? Well, there is none, and while the album’s not completely dreadful, it’s ultimately almost completely forgettable and still definitely not worth your time.