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Bye-bye, deathcore - 90%

GuardAwakening, October 3rd, 2012

Job for a Cowboy has completely left deathcore behind and has confronted full-on pure, raw 100% death metal with this release. Genesis really was an ordeal for the fans of Job for a Cowboy and I can remember it like it was yesterday. It truly divided the fans they had or otherwise left their young metalcore fans that still decided to support the band, shift into purist extreme metal heads. It also left a load of -core kids and metalheads very pissed off at it happening too.
-Core kids were left upset seeing their favorite band leaving behind breakdowns, pinch harmonics, pig squeals and dumb emo haircuts in the dust while it left metalheads angry at seeing a deathcore band completely evolving into death metal.

Well sorry to say guys, but tough shit for both of you. The matter of these happenings also displays that this death metal opus really is a hate-it-or-love-it album and if you aren't so concerned or care about the past history of this band (as I would prefer you to as the band would most likely feel the same) you'd be in for an outstanding record by this Glendale, Arizona five-piece.

Basically this album carries (or in some cases relies) on being technical. Many of the riffs are very, very structured on being as wankery as they can without sounding too out-of-key within the process. The bass guitar is audible in most of the music and is somewhat impressive on what Brent Riggs can do with just his fingers. He slaps, pops and grooves away while the band's two guitarists take the lead. His bass work is in some cases mediocre but overall I just give him praise in the least that I can hear him on this record which isn't a usual thing in all of today's death metal. He even has some of his own bass breaks where the music stops for a brief second, giving him the spotlight such as in "Bearing the Serpent's Lamb".

Vocals have changed since Doom. Davy's deathcore voice that he possessed on the EP may still retain the same growling technique he had (with no noticeable improvement there) but his screams have been reduced by almost tenfold (since this is death metal after all, not deathcore anymore) but when he does scream, it sounds not near as exaggerated or overdone as it was on Doom. Also his lyrics on this release takes a turn for speaking of dark issues within politics and of course the dreaded VeriChip ("suppressing technology" indeed).

As for drumming, Eliot Sellers has improved DRASTICALLY since his poor performance on Doom. His pathetic excuses for blast beats on that release have now been replaced with matured and varied playing styles with double bass kicks that come in like a charm. He also has a few very interesting tools at his disposal that he unleashes on a few of the songs if you pay close enough attention (get a load of the typewriter-sounding "ding" sounds he makes with his ride symbol during "Embedded").

All in all, Genesis is an amazing death metal record and was even awarded the best selling debut metal album since Slipknot's debut album (from 1999) and I can honestly say, I'm not so surprised. One of the best smashing extreme metal pieces of 2007 all coming from a band that once would have been left behind forgotten in the reign of deathcore clones if they did not change their style (which thankfully was done). From this album forward, may Job for a Cowboy reign as Job for a CowMAN.