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The triumph of the deathcore era - 71%

NWOAHM666, July 4th, 2012

There was a time, perhaps less time ago than I'd like it to be, in which I was something of a metalcore creature. Back then, when I was climbing the stairs that would eventually lead me to Testament and Deicide, there was a term that interested me a lot - deathcore. Of course back then I lived mostly based on rumours and I had no idea of what deathcore was apart from All Shall Perish. When, later, I actually decided to use my resources and discover some deathcore music, I wasn't pleased at all with what I was hearing. It felt all too forced and boring. However, there were a few albums which I actually regarded quite well. One of these was (and still is) A New Era of Corruption.

I'm not gonna lie. Most deathcore is horrible, if you ask me. The terrible melding of death metal and metalcore it is know for often consists merely in a huge chain of chuggy breakdowns that make KoЯn sound like a progressive rock band. The drumming is generally unexceptional, which isn't a surprise considering that its main function is to punctuate the breakdowns. The vocals are hit-or-miss and the themes that these bands find to write lyrics are often either childish or ridiculously cryptic (and often meaningless). After having heard Whitechapel's two first albums I wasn't entirely convinced about the band, as some of these elements made a regular presence on their earlier material. However, with A New Era of Corruption, I do think Whitechapel managed to stray away from other deathcore acts.

The reason for which A New Era of Corruption is so good (for deathcore terms at least) is because the band is obviously avoiding the typical deathcore elements, or at least the most irritating ones, replacing them with more pleasant musical traits that still fit the deathcore moniker, if not completely, at least partially. Instead of composing songs entirely made out of breakdowns, Whitechapel tried to play around with groove. There are even faster-paced sections that play a nod to melodic death metal, and guitar solos. In some way, this is less of a pure deathcore album (like their first two albums) and more of a very heavy groove/nü-metal album.

The riffs are nice but they're a bit lukewarm at first if you think that these guys have three guitarists. However, there's always some ear candy under the form of the Pantera/Chimaira-esque flavour of the said riffs. Occasionally the band drops the groove to jump in faster, somewhat more melodic sections (such as in "Breeding Violence" around 0:59). There are also guitar solos all over the album, and typical deathcore breakdowns are nearly impossible to find, although metalcorish breakdowns are pretty frequent. The bass is moody, like in the previous releases, making the sound here much darker than in any other deathcore release. The guitar work is close to some sort of groove thrash plagued with nü-metal elements - which, despite being far from stellar in overall terms, is indeed a triumph in the world of deathcore, which generally makes nü-metal sound like Bay Area thrash.

The drumming is not exemplar nor exceptional, but it has indeed been finely played. It varies from a more typical technical groove style to intense blastbeating in the faster sections, as if the drummer wasn't decided between groove thrash drumming and death metal drumming. From a mile of distance, this may be the best drumming I've ever heard in deathcore, and it is superior to most metalcore bands.

The vocals are quite decent. Phil Bozeman manages to sound like an actual death metal vocalist (very rare in deathcore) and not like a melodic metalcore vocalist (like on most deathcore bands). The pearl of his performance is probably the song "Reprogrammed to Hate", arguably the heaviest song of the entire album, where Bozeman showcases a level of aggression never seen before in deathcore, fitting very well the song itself. However, there are also the weaker points (such as in "Necromechanical" where Bozeman decides to growl "I am a machine!" for half an hour) which stop, rather than inverting, the quality of the material in question. The lyrics are great, focusing on serious themes that everyone can relate to, such as the post-9/11 society ("Breeding Violence") or the rise of religious fanatism ("Prayer of Mockery").

Overall, it can be said that this is one of the few good albums of a mediocre era. Many deathcore fans disliked it, of course, because it's not a pure deathcore album, but a combination of death metal, hardcore, groove thrash and nü-metal elements that can be, after the evaluation of the result, called deathcore. This album is recommended to open minded people who may be interested in a deathcore album that doesn't come as an insult to the two genres implied in the term. Not recommended for diehard deathcore kids who are in desire for br00tal breakd0wns and diehard death metal fans who may be displeased by the band's general focus on groove over speed. If you're somewhere in the middle, it won't hurt to give it a listen.

Now the world can rest in peace forever - 80%

DomDomMCMG, February 2nd, 2012

And now to album number 3. Whitechapel seem to have finally found the sound they're comfortable with. While the brutal deathcore traces are still there, the band also seem to be taking on a lot of influence from bands like Meshuggah, including bringing in 8 string guitars. They seem to be trying to escape the deathcore label they've had since the start of their career, and they're doing a damn good job of it. This is their furthest album from deathcore. The record isn't stuffed with as many breakdowns, and Phil Bozeman has even stopped dropping "fuck", "shit" and "piss" whenever the band start to play one.

The riffs aren't those melodic(ish) mid-paced deathcore riffs from before. They're much more groovy and technical. The riffs are a lot slower, without going into non-stop breakdown territory. Imagine a mix between Meshuggah and newer Acacia Strain. There are less solos than on This Is Exile, with the only outstanding one coming on Reprogrammed To Hate.

Once again, there is little to no bass presence in the music. I really want to hear Gabe Crisp playing some time soon.

Phil Bozeman has almost completely abandoned his incomprehensible gurgles in favor of his mid-ranged grunting. This means you'll hear his lyrics much more often than before. However, this isn't much of a good thing, as his lyrics have hit an all-time low. Some of them are just plain cringe. Guest spots from Deftones's Chino Moreno and Acacia Strain's Vincent Bennett appear on the tracks Reprogrammed To Hate and Murder Sermon, respectively. While Bennett contributes very little, Moreno provides an entire verse of his signature high pitched shriek, before performing a duet of sorts with Phil, where Phil performs a low growl that wouldn't have sounded out of place on "Somatic Defilement" to go along with Chino's screeching.

The drums are impressive, as usual. Blast beats aren't as common, with a lot more polyrhythms to go with the newfound Meshuggah influence. He still knows how to throw in a good old double bass frenzy when he needs to, and the drums are perhaps the best element of this album.

The biggest problem? The first 5 tracks are the best ones. The band blow their load way too early, and the album takes a huge dip in quality after End of Flesh. You do NOT want to start your album off with the best songs all clumped together. You want the LAST 5 to be the best, or, even more preferable, you want an even mix of the brilliant tracks and the not-so-brilliant tracks.

Overall, it's a good album, but it's far from their best. I'd avoid this until you've listened to at least This Is Exile, which serves as a much better introduction to the band.

Highlights: Devolver, Breeding Violence, The Darkest Day of Man, Reprogrammed To Hate, End of Flesh

Generic, but acceptable. - 50%

mrdanteaguilar, March 6th, 2011

Recently, I decided to check out many deathcore bands a friend of mine recommended. Along those bands, I listened to I Declare War, Fallujah, Impending Doom, Oceano, Job For a Cowboy and Whitechapel. Except for JFAC (which were the worst), all the bands sounded like exact clones. They don't sound similar, they sound IDENTICAL. So did this album.

It's not that it sounds bad. It's just that, well, it sounds too forced. Some of the songs stand out and manage to get stuck in your head like ''breeding violence'' or ''the darkest day of man'' (the best song from the album). All the instruments sound perfectly arranged, with audible vocals. The main problem is that the whole thing doesn't sound original at all.

Some claim this is the new sound of metal today, but it actually sounds like watered down, ultra soft brutal death metal. This is actually very ''br00tal'' (or ''brewtl''), perfect for your average scene guy who just got into metal last thursday. However, this sounds very bland and lacks something that makes me headbang or want to mosh, in the same vein as Slipknot or Korn, only with more breakdowns and even cleaner production.

What I can tell from what I've listened Whitechapel (pretty much all their albums, being ''This is exile'' the most decent one) is that they have always sounded generic and manufactured, and unfortunately with this release they made no exception. C'mon people, metal is not just breakdowns or playing downtuned guitars.

Music goes like this. Pretty much the whole album is made with chugging guitar riffs, half-assed guitar solos and computer sounding drums. Some songs manage to be very catchy. ''Darkest day of man'' is very appealing, incorporating decent guitars with good vocals courtesy of Phil Bozeman (a true god for teenager kids who want to be ''vokillists'') and some interesting lyrics. Same with ''breeding violence'' and ''reprogrammed to hate'', which create a dark atmosphere, straight from the darkest corner of your local mall. It doesn't mean it's bad, it's just very teenager oriented. Also it's very important to mention the bass is, as expected, unaudible. The deep sound is there, the low sounding guitar is doing its job, but it doesn't stand out, it's just there.

Now for the lyrical contentm here's an example:

How the fuck could anyone believe the truth
When the religious fools have endless prophecies
Bring it all down to an end
I find it amusing when you think it all makes sense
I have the solution
Bring it all down to an end

Maybe it's just me, but I find the use of curse words very childish, as it makes the music much less aggressive. Might as well just apply the Slipknot formula of fucking-shit-motha-fucka.

It's still entertaining and somehow tolerable, just like the bands I mentioned before. But after a while it gets really boring, since you heard the same thing thousands of times before.

Good, But Not Back to Their Former Glory - 65%

MutantClannfear, December 31st, 2010

Whitechapel are the creators of one of my favorite albums of all time, and as such I keep a close eye on them. I was very disappointed with their 2008 album This Is Exile, so I was hoping this album would be a return to roots. I wasn't even close in my prediction, but on the other hand, I do enjoy this album...though it's not the album I wish it was.

As the latest trend seems to be, Whitechapel have come to the conclusion that deathcore is a dying genre, and as a result have created an album that is essentially a death metal album struggling to let go of the deathcore genre entirely, and only half-succeeding. However, unlike Carnifex's and Job for a Cowboy's death metal transition albums, this one succeeds in that it not only eliminates most of the deathcore influence, but at the same time doesn't sound boring or confused in its direction or presentation.

The album's most prominent change from Whitechapel's older work is the new guitar direction. It is much heavier and grooving than the band's older guitar sound, and there is a lot more emphasis on the slower side of the guitars. The majority of the guitar work is rhythmic chugging, which is just about the only thing that still serves to identify Whitechapel as a deathcore band. There aren't really any fast parts on the album; as I've said, there is a lot of chugging. For the people who dislike deathcore, however, you'll be happy to know that there aren't any true breakdowns on the album at all. The album also incorporates many more melodic sections than Whitechapel's older works, and they dominate the songs "End of Flesh", "A Future Corrupt", and "Prayer of Mockery", as well as the chorus of "Devolver". You'll also find guitar solos in a few of the songs, such as "Reprogrammed to Hate", but they feel generic and boring, feeling more like bad extensions of the melodic leads than solos. The bass guitar is sometimes audible through the blasting of the three guitars, but not often.

Phil Bozeman has improved his vocals from This Is Exile, which is no small feat, given he was the only member giving it his all on that album. As he has stated in interviews, his main goal here was to use more diction to make his lyrics more interpretable, and it has definitely worked. You can understand a large majority of the words without looking in the lyrics book at all, and at the same time his voice is more guttural than it was on the previous album. The vocal execution is also very forceful (read: not forced), and he delivers the lines with extreme vehemence. Check out the emotion in the chorus to "Reprogrammed to Hate", his shouts of "WELCOME TO HELL" in "Devolver", or my personal favorite, the halt of the instruments at 0:28 in "The Darkest Day of Man". His highs, on the other hand, haven't improved much at all, if improved they truly have. They have a bit more emotion added to them, probably because of the added diction, but I still dislike the overall presentation of the vocals because I've always enjoyed Phil's emotionless screams in the past two albums.

And that leaves the drummer. An odd thing about Whitechapel's drummer on this album is that even though the guitars are chugging at a relatively slow speed, the drummer uses blast beats and variants almost constantly to give the music an illusion of speed. Sometimes it works; sometimes it doesn't, and it simply feels like the guitars and drums are completely out of tempo. The kit's sound itself is quite watered down by the guitars, which were probably intended to take front and center on this album. Fair enough, since they're probably the shining element of this album, but the end result feels a bit lacking due to the partial tuning-out of the drummer.

As with the last album, lyrics are a weak point on this album. The actual vocal execution is great, yes - but the words Phil is saying are all repetitive rants on religion that just feel pretty stupid. It's almost like a sixth grader decided to be an atheist because all of his peers were, and then wrote some second-rate poetry about how much God sucked. Now, mind you, I have no predispositional problem with lyrics dealing with any religion, but fuck, at least try to make them sound intelligent. The only reason you'd try to tell someone your opinion on religion through music is to sway their opinion, so don't make it appear that people who believe what you do are all morons.

This is a great improvement over This Is Exile - though that in itself isn't saying much - but at the same time, Whitechapel doesn't seem to have any plans to return to the stellar formula they created with The Somatic Defilement. I doubt that Whitechapel will ever return to their former greatness going down this path, but that being said, this is a good album, especially for a death metal hybrid.

But the same era of boredom - 37%

autothrall, December 6th, 2010

Contrary to how my feelings on most of its primary progenitors' works might cast a gloom upon the deathcore genre as a whole, I'm not internally opposed to the idea. The idea that breakdowns, youth mosh attitude and other key characteristics to hardcore or metalcore could be incorporated into death metal music is hardly a long shot. Death metal and its own parent genre thrash were loaded with such things already, just...better. Deathcore seems a fairly natural successor to metalcore and its elder sibling, crossover, but the fact stands that so few artists within its confines have written anything even remotely compelling. In fact, it's sadly telling that some of the best albums in this category (like Job for a Cowboy's surprising 2007 album Genesis) are merely those that bark as straight up the pure death metal tree as possible.

Whitechapel are not an entirely talentless bunch of guys, but the stamp of quality evades them once again with their third album, and second through Metal Blade: A New Era of Corruption. This is still the same chugging three guitar onslaught you heard on their prior releases, but the content itself seems to fall well between its predecessors in both quality and style, leaning towards the mosh slop of the debut with an added meat injection of math like, bouncing grooves ala Meshuggah or other djent acts. The vocals are still pretty bleak, at best sounding like Vader or mid-period Morbid Angel, but usually just a palette of scrappy tough guy deathcore with snarls interchanged like a street youth approximation of a Deicide or Carcass. The tones are rich and thick here like any modern extreme metal album, and no expense was spared, but the actual writing falls far behind the band's impetus to craft mere mosh anthems for disheveled youth who will forget all about it six months hence, and they don't temper them with what seems like any real steel whatsoever...

Take a track like "The Darkest Day of Man", which at its apex transforms into simplistic, thrash propulsion rhythms that reminisce to the groovier elements of Swedish melodic death aspirants (err, clones) like Black Dahlia Murder, but is otherwise a bunch of tightly wound, bouncing and slamming downtuned grooves that go nowhere musically. It seems like the process on this album is to shift through a number of brickhouse dynamics without ever really pondering the riffs that could transform them into something terrifying or effective. A New Era of Corruption feels like going through all too many motions. It's mechanical and precise, but if I didn't know any better I'd say it felt like the Tennessee band were bored with this. Whereas the predecessor had slight hints of inspiration, this is pretty much all blood and sweat channeled into meaty chug rhythms ("Reprogrammed to Hate", "Prayer of Mockery", "Murder Sermon") that seem to survive only on how many kids start dancing to them. There are riffs spotting this muted landscape, but they rarely catch the ear for more than a fleeting second, and are all too quickly evaporated into mindless slogging punishment.

If you woke up this morning and decided you'd just like to do barrel rolls and lawnmower kicks down the main boulevard of your city neighborhood, then Whitechapel provides an ample soundtrack to your quick fits of violence. But the memory of such a spree is guaranteed not to endure beyond the possible manslaughter charges. This might be the best produced of the band's albums, and the lyrics maintain the more hardcore, thoughtful essence of their sophomore rather than the perverse pleasures of the debut, and Phil Bozeman's vox might actually sound a little more gruff and brutalized, but none of these traits necessarily translates into quality music, and I'm yet again striving to find the appeal. You can almost randomly select a modern brutal death metal record at large and find more appealing, interesting content, and certainly the 'core side of the equation, which here manifests through the prevalence of palm muted breakdowns, is truly void of the ideas that made for successful stylistic marriages in the past.

-autothrall
http://www.fromthedustreturned.com

A Little More "Death", A Little Less "Core"? - 70%

SeizeTheMoment89, October 29th, 2010

At first glance, Whitechapel appears to be just another typical Deathcore band. However, there is much to behold underneath the surface. These guys know exactly how to make technical, unique and heavy music, while also maintaining a very unique style of writing lyrics. This opinion didn't come to me right away, though. When I first heard their breakthrough album, The Somatic Defilement, I wasn't impressed. I just saw them as, like I said before, just another Deathcore band with nothing to offer. However, when I picked up their sophomore album, This Is Exile, my opinion completely changed. This album kicked my ass. I decided to give their first album another chance, and I came to the conclusion that it is just alright. Then I heard that they were releasing a new album and I figured that they have only gotten better with age, so this album should completely blow me away.

Needless to say, I wasn't "blown away"....

A New Era Of Corruption is just a step in the wrong direction for this band. From the first song, you can tell that they are breaking away from their "core" roots with the almost complete absence of noticeable breakdowns, which may be an improvement in the eyes (or ears) of some... but, it's just not Whitechapel. There is a much higher amount of groove and melody in this album. There's nothing wrong with that, but it's overkill in this one. To me, it sounds like it comes from an inspiration from Cannibal Corpse. That's not what Whitechapel fans want.

Among other things, Phil Bozeman's vocal style has almost completely done away with his high pitch screams in order to focus on a more gutteral sound. Don't get me wrong, this kid is still fantastic, but it doesn't give you much to look forward to. Also, his writing style is just more of the same as it was in This Is Exile. Misanthropy and anti-religion galore. The only real exception is the song "Animus", the iTunes bonus track which is about the death of Phil's mother.

The guitars in this album are not impressive at all. They consist primarily of power chords, triplets, basic metalcore riffing with a down-tuned feel, and the occasional, unappealing solo. Like always, the bass in this album is almost inaudible, with the minor exception of a little bass solo in "Reprogrammed To Hate". It's not all bad, though. In the first song, "Devolver", there is a catchy little guitar lick in the chorus that is pleasant. Also, in "Murder Sermon", there is a little tremolo riff that you have to really listen for in the first verse that is, although not too impressive, noticeable.

The lack of impressive drumming in this album is a huge disappointment. Kevin Lane is an amazing drummer, but he sounds a bit drowned out in this album. In This Is Exile, he is so audible that he is almost the only thing that you listen to. In ANEOC, you really have to focus to be able to hear anything worth remembering. Sure, there are plenty of impressive blast beats and triggered bass drums, but after the first five songs, you tend to look in the mirror and say "I really don't care anymore."

All in all, A New Era Of Corruption is a good album, but it's a huge disappointment considering their previous releases. If you're looking for a good Deathcore album that will force orgasm after orgasm, pass on this one. Either pick up their sophomore album, or pick up the Upon A Burning Body album. I'd reccomend this for new fans, but not for long time fans. If this really is a new era of corruption, count me out. I'll stick with the past.

Standout Tracks: Reprogrammed To Hate, Unnerving, Murder Sermon

The New Era has Begun - 90%

DaemonicLord, September 20th, 2010

For Whitechapel, making an album that kicks ass doesn't seem to be that hard. Their first album, The Somatic Defilement, is still to this day one of the heaviest deathcore releases out there, and the second album, This is Exile, is one of the most influential deathcore albums out there (we can hear this by the newer releases from bands like Impending Doom, Oceano, and And Hell Followed With). Whitechapel have made a mark on the modern metal scene, and either you love the band's music, or you hate it. A New Era of Corruption is a prime example of this, as a lot of people hate it for certain reasons, and others love it for their own reasons.

Now, let's move on to the music. First of all, the songs on this album, (along with the previous two albums), actually have GUITAR SOLOS!!! Surprise, surprise! I guess people can stop hating Whitechapel for having no solos, considering there's one in about every other song of theirs, which, who cares about not having flaming finger-pickin' guitar solos in every fucking song? If a song is good, it's good, and not having a guitar solo shouldn't change that. BUT! If you want guitar solos, look no more! I'm positive you can find guitar solos in the songs "Breeding Violence", "Reprogrammed to Hate", "A Future Corrupt", "Prayer of Mockery", "Necromechanical", and (although there isn't a solo per-se in the song) "Single File to Dehumanization" has some great guitarwork that has an almost soft, yet dark melody, before they crush you with one of the best breakdowns on the album.

While on the subject of guitars, I'll go ahead and mention that the band decided to experiment quite a few times with acoustic guitars, sometimes offering an almost spanish-style playing (just past the half-way mark in "End of Flesh"), and then a soft, almost mesmerizing section beginning at around 2:26 on "Murder Sermon". Then a couple songs later you'll hear the acoustic being brought out for a short outtro to "Single File to Dehumanization", which also closes off the album.

Now, deathcore is known for its breakdowns, so don't pick up a deathcore album expecting a band to have a lot of solos and little to no breakdowns. If that's what you want, stick to death metal. Deathcore is also known for having terribly generic breakdowns, riffage, lyrics, and annoying vocals. Fortunately, A New Era of Corruption only has generic riffage, which aren't even all that generic, but mostly unique and different from other deathcore bands, examples would be the chorus riff in "Devolver" and the riffs in "A Future Corrupt". Aside from that, the breakdowns all have their distinctive sound to them, and flow with the music very well, the lyrics, (usually ranging from the topics of God to hatred and violence, you know.... general metal topics, but with good meaning behind the songs), and Phil Bozeman's performance on vocals was done extremely well. He pulls of his deathgrowls and gutturals with ease, and uses little high screams, and when highs are used, they're used at the right time and for the right length, making them sound great, as opposed to annoying.

The only reason why this album recieved a score as low as it is, is because the album seems to be missing something... maybe intensity. There aren't too many intense death metal riffs in the album, if any. It's not exactly the perfect album in the world, but it's well worth the money. Let's just say that.

I'm the kind of person that reads the sentence "Whitechapel made Bring Me the Horizon sound manlier than fuck with this album!" and I shake my head. I don't see how ungodly guttural vocals, lyrics about bashing God and the end of the world, non-generic breakdowns, and some damn cool riffs and guitar solos makes Whitechapel gay at all, but Bring Me the Horizon aren't anywhere CLOSE to manly. But whatever, just proves that some "metalheads" out there are pretty fucking stupid and don't know what they're talking about. My point for the previous paragraph was to say that, my advice, don't listen to half of what people say when it comes to that stuff, because you won't find songs about lollipops and rainbows here. Whitechapel made an epic win with A New Era of Corruption, and I give it a solid 90%. If you are a fan of GOOD deathcore, go pick up this album, I promise you won't be disappointed.

A NEW ERA OF CORRUPTION by Whitechapel (2010) - 24%

MystifyXD, August 5th, 2010

Oh shit…Holy shit, what an abomination! This album even made Bring Me the Horizon sound manlier like fuck! And here I am, thinking that “This is Exile” is bad enough. Well, this IS worse. You don’t believe me, do you? Well, you go hear what I have to say.

Before we ever talk about the album’s cons, let’s talk about the pros first. First thing’s the production, which sounds very modern indeed, like deathcore. Another thing is the brutality of the vocals, which is very deep and very guttural. Another thing is the solo on “Reprogrammed to Hate”, which is probably the only solo in this full-length. Besides, that solo might be the only guitar part I appreciate, if ever. The last thing I like bout this album is the album art. It just looks like a picture from a sci-fi movie, with all those robots posing wickedly.

That’s all folks, because we’ll now be talking about all the shit here in this album! We have here first the music, which is simply directionless and amateurish (the only exception here would be the solo mentioned above). You just can’t tell how the songs in this album go, and “A New Era of Corruption” is even their third full-length! For instance, we have here “Devolver”, which is the album’s intro. What you can hear from the start are loads of “chugga-chugga” riffs, and then some eerie riff for a chorus. Some “chugga-chugga” riffs and a breakdown follow. Now, does that sound something that has sense? Oh yeah, another thing about the “chugga-chugga” riffs here is that the songs have too much of those for their own good, which is definitely very dreadful.

Another thing is the overall brutality each song showcases. Damn, we have here some very senseless shit. Although the vocals are indeed brutal, mixing it with the other instruments make each song makes the album br00tal (so fake indeed…). Some songs even feature senseless techno beats (not that I’m against techno) and rapped death grunts, both of which sound outright atrocious, and this is supposed to be deathcore, goddammit, not some techno rap-metal fusion!

This album simply is a waste of time, money and effort. Well, if you have bought the CD already, don’t feel bad. You could even use it as a coaster or as a frisbee. Otherwise, sell this CD to an ignorant scene kid.

Originally made for http://mystifymyserie.blogspot.com

Dissapointing - 34%

Alienhell, July 25th, 2010

At the turn of this new album, Whitechapel have really gone past the point of no return. From their attempt with 'This is Exile' we now enter a chapter of dissapointment. As such follows.

Whitechapel open the album with 'Devolver', a song that creates a mood brings you back to 'This is Exile'. Why? Because in most practicality it's the same idea. Whitechapel create a verse and then a chorus and simply REPEAT, losing all sense of actual entertainment in the song. The song later goes into some slow and boring chugging that continues far too long. And so 'Devolver' is more over a down-towned version of 'Father of Lies'. A mediocre attempt at creating something impressive to open up. But it doesn't end there.

'Breeding Violence' begins, 'CHUG-CHUG-CHUG' before the vocalist breaking into some moments of 'Possession'-like lines which are let out at a relatively same tempo. The song just creates an incredibly small loop and repeats before breaking into a mediocre solo and looping again. Whitechapel don't even seem to be bothered to make any attempt significant.

Overall the guitar sound is generally insignificant. Chugging through when it can and never really moving forward except to play incredibly similar riffs that bridge parts of the song. Whitechapel aren't really giving us anything to enjoy that sounds fresh and new. The drumming is generally the same, loose and stays in the background and is never really noticeable. Blast beats being non-enjoyable as the guitar dumbs it down into just weak and flimsy drumming.

Now the vocals are more Death-antiquated which makes for generally better sounding vocals but doesn't derive from the stringy boring deathcore vocals that are typical over the span of the album and follow the dissapointing routine as the rest of the album. If the guitar repeats, They repeat. Not interesting. Another thing to be noted is how there is generally a 'Creator' in most of the lyrical themes which isn't precisely entertaining content over 41 minutes. One thing i don't understand is End of Flesh's opening lyric:
'I AM ALIVE'
against the opening line of the next song:
'I AM GOD'
As if we are supposed to be shocked by how incredible the music actually is.

Well no thanks Whitechapel, Overall 'A New Era of Corruption' as noted in the album title, is repetitive, non-fresh and really a tiresome attempt that really makes you wonder if Whitechapel can really be bothered to make another attempt? Or are we even bothered to care if it sounds like this?