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Vicious, in-your-face, no games metalcore - 90%

grimwinter13, March 5th, 2019

I've said it befofe: Bleeding Through are one of the few metalcore bands who consistently avoid the genre-typicals' tendency to fall into a routine of monotony, generics, and sappiness. And I really hate to sound like I'm sucking up to the band or being a fanboy, especially since die-hard fans of Bleeding Through, such as myself, can't seem to say enough to get the point across that these guys (and one girl) are and always have been on a whole 'nother level above their contemporaries. But I won't waste time making that point again, like I did in my review of This Is Love, This Is Murderous. To honestly look at BT's musical output, you gotta strip away all the baggage and negative connotations that come with something as silly as a genre label. When you get past all the internet bickering and look at The Truth for what it is...well, it really is that good.

The biggest difference between this and BT's earlier work is the much neater production. Now, often times this can go two ways. In the case of The Truth, a lot of the album's depth and power relies on the polished mixing/mastering work because it's a very layered album. Aside from the standard instrumentation and Marta Peterson's keys, BT utilize just about every effect you could ask for, in a multitude of ways. The guitar tones have a much more varied texture to them through using a plethora of unique FX and tone, most notably on the closing title track. Not to mention, Brian Schieppati (vocalist) is really pushing his range to the max on this record - his cleans, which are more than acceptable and certainly very emotional, aren't just used for dramatic effect like on previous releases. He's employing them frequently for actual, anthemic choruses - a big part playing to make The Truth impossible to forget. Screams-wise, he's added in higher pitched screams as well in addition to the aggressive barking that led the rest of this incredibly aggressive breed of metalcore.

Also on that note, this album is so heavy. You gotta give some cred' to BT for being able to keep to their signature style of metalcore and heartbreaky lyrics without sacrificing the sonic aggression, and oh boy do they deliver on The Truth. And it's not like their other albums before were necessarily any softer. This album is just so much more in-your-face. It hits so much harder because everything that's happening is heard the way they intended. Not one empty space was left unfilled unless by intention. With this, you're getting the full package of a genuinely pounding metallic hardcore album complemented by another more melodic, emotionally sensitive half.

Without all the instrumental and effect layering, the composition of riffs is really minimalistic. It's the metalcore standard - thrashy, groovy hardcore riffs, Swedish/melodic pivot riffing, and chugging breakdowns. What's setting BT apart from the hoards of other metalcore bands is their ability to structure these fundamental parts smartly. By this, I mean not every song is following a perfectly repeated formula. Maybe they'll focus mainly on thrash metal riff: "For Love and Failing" and "She's Gone". Maybe they wanna do some melodeath stuff: "Confession", "Hollywood Prison". Or maybe they want to write an them that'll have fans singing and shouting the words back in a live setting: "Love in Slow Motion" and "Kill to Believe". It's all about each song having its own specific role to play, so with every new track, you're getting something a little unique. My best example of this is "Line in the Sand" - a ballad, which seems unlikely for BT. And yet, "Line in the Sand" is so emotionally-charged that even though the song has a softer and more heartfelt feel, it's still very much a Bleeding Through song.

The Truth doesn't need to be uber-technical or mind-blowingly inventive because it's catchy, and that works. BT found their formula already, and now they're just taking that signature sound they've got and pushing it to the limit. Is this my favorite Bleeding Through album? Probably not. It's a very close second to This Is Love, This Is Murderous - that album edging this out for its approach and genre significance. And yet, I still recommend The Truth to anyone interested in checking out Bleeding Through for the first time. In fact, I'd recommend this very album to a first time listener because it's an accessible record with catchy riffs and memorable choruses. It does all of that and yet seems to never lose its edge and remain a ferocious piece of thrashy metalcore. Hell yeah.

Best songs: "Kill to Believe", "For Love and Failing"", "Line in the Sand"

Surprisingly Good - 78%

beardovdoom, November 24th, 2013

Bleeding Through are a peculiar band and difficult to categorise. They've always said they were a hardcore band that just expanded their sound. But there's black metal, death metal and thrash in here, yet this isn't typical metalcore or deathcore or whatever. I quite like the previous album although it does get quite samey towards the end. This album is more diverse, better produced and more commercial. It should be a disaster yet somehow it isn't. I've even found myself liking this album more now than when it came out, despite my tastes moving further away from the genres associated with this band.

This isn't the most sophisticated music ever nor does it pretend to be. This is angry, tough guy hardcore mixed with various elements of metal. The difference between this and other hardcore influenced records is you actually feel like there's a lot of honesty in Brandan's lyrics, even if they aren't the most eloquent words committed to tape. The first track starts with 'I don't give a fuck' which puts me off somewhat and makes me want to ignore the lyrics but further into the album it does improve. He isn't a poet by any means but at least he sounds genuinely pissed off and not just faking it like a lot of bands.

Musically you've got crunchy riffs, fast drums, black metal inspired keyboards, no audible bass and a fairly wide range of vocals to top it off. Brandan sings a lot more on this album than any other and his voice isn't bad. Definitely feels like the record label wanted to push this mainstream though. There's even a ballad, the surprisingly decent 'Line in the Sand'. 'Love in Slow Motion' and 'Kill to Believe' sound very similar but are decent tracks so i don't mind. The rest of the album follows a similar pattern of aggressive verses followed by melodic choruses. 'Tragedy of Empty Streets' has an ominous keyboard part that i really enjoy and is one of the more frantic tracks.

This isn't mind blowingly good but is certainly better than most metalcore and destroys that awful bunch of imitators Winds of Plague. If you like metalcore and want something with a bit more variety and a unique sound, i'd recommend this as their most accessible album. The album that follows (Declaration) blows this away though.

Recommended tracks: Kill to Believe, Line in the Sand, Tragedy of Empty Streets, Return to Sender

A Step Backward - 55%

ArnoldHablewitz, December 21st, 2010

Originally published on The Wormwood Chronicles"

What do you get when you take tatted-up, hardcore, un-emo scenesters from Orange County and you tell them to come up with a cool mix of thrash and death metal mixed with their beloved Orange County hardcore? You get Bleeding Through…

Honestly, I knew this would happen. I loved their last disc so much, that I played it out like it was going out of style. The sound was awesome, albeit purposely raw, and the tunes were fantastic, like the ultimate version of what guys like Atreyu and Avenged Sevenfold were TRYING to do and yet not doing nearly brutal enough. Simply put, Bleeding Through is what happens when you take Atreyu/Avenged Sevenfold, and cross it with Black Dahlia Murder. Very brutal, very intense, incredibly melodic and catchy, and yet also with what sounds like a cheesy horror/film noir soundtrack playing underneath in the form of Marta’s keyboards. The keyboards really do sound out of place on this release. On “This is Love, This is Murderous” they were never overdone and they were always an appropriate addition of atmosphere, but here they just cut through the mix far too much, which is especially odd when you realize that their producer here was none other than Cradle of Filth producer Rob Caggiano, who therefore should have all the prerequisite experience to properly set the levels on those damn keys.

As for singer Brandon, as much as I love the dude, here it really seems like he was trying too hard to out-do his performance on previous CDs. His screaming/growling sounds far higher-pitched, and his clean vocals sound too forced, which tends to push them out-of-tune and out-of-key from time to time. His clean tone is alright, but I think he should have tried to keep it simpler and not throw in so much bending and slurring of his notes. To be blunt, it’s unnecessary. The riffing is what you’d expect it to be, and is really what saves this disc, as it is thoroughly intense. My gripe here though, is that a lot of the riffs don’t sound nearly clean enough with the tone they have from their amps. A lot of notes get lost in the mix or are overly distorted to the point where they are not easily discerned.

I dunno, maybe I’m just burned out from their first release. I still love the band very much, but I just think that this CD has a lot lacking from its predecessor. A cleaner production (*cough* Colin Richardson *cough*) and a producer who could stand up and tell Brandon not to try so much on his vocals would have probably done wonders with this band. Better luck next time.

Truth or Dare? - 86%

Pfuntner, November 21st, 2008

Bleeding Through’s fourth album finds the band in the college stage of their coming of age story. Their previous three albums are still firmly cemented in their personality and sound, but they’ve taken the concepts from those records to the next level. They’ve also begun to indulge themselves in the more open-minded culture of their surroundings, most likely prompted by their roommates (they’d toured with bands ranging from AFI to Cult of Luna at this point in their career). What this means musically is that “The Truth” is very much the successor to “This is Love, This is Murderous” but fills the holes that plagued that album with new experiments the push and pull the band in multiple directions at once.

I usually dislike making a big deal about the production of an album, but in this case I really have no say in the matter. Listening to this album directly after the previous one, I nearly fell out of my seat. The whole album sounds HUGE in comparison with the last three. Every instrument is audible, even the bass. On top of clarity, there are also tons of bells and whistles such as phaser effects, flanged guitars and vocals, and spiraling guitar lines bouncing back from speaker to speaker. This is probably the most consistently noticeable element of Bleeding Through’s newfound experimentation. That and the surge of keyboard parts that pop up all over the place on this album. The opening track, “For Love and Failing” would have been a decent but underwhelming track on an older Bleeding Through album, but Marta Peterson’s keyboards bring it to the next level. I mean really, a synth lead in a Bleeding Through song? Who saw that coming?

The first two tracks of the album, keyboard leads aside, would do a great to convince listeners that this album is just more of the same but better. The previously mentioned opening track retains the quick fingered riffing of old Bleeding Through, with added blast beats and tremolo picked black metal riffs, and “Confession” focuses more on the churning, grinding death metal oriented parts that appeared in bulk on “This is Love, This is Murderous”. Once again dead set on breaking their own rules, Bleeding Through follow up with one of the best songs, “Love in Slow Motion”. This is the quintessential metalcore growl/croon song to end all growl/croon songs. The verses are straight up modern thrash metal and would fit in quite well in any of the revival acts running around these days. And then it segues perfectly into a grand over the top melodic chorus complete with keyboard flutters and vocal harmonies. And unlike most of the bands that stole this formula and made quick cash off of it, there’s no attempt to water down the heavier bits to fit the softer sections. If anything its the other way around.

This song says a good deal about “The Truth” as a whole. The band is pitting two very different instincts against each other. On one side, they’ve made a very obvious attempt to streamline their song writing for catchiness. On the other they clearly wanted to make this album even heavier and more in your face than their previous outings. The result is songs like “Kill To Believe” which alternate between skull crushing brutality and stadium ready sing-a-long choruses. Of course they still have a sweet tooth for non-stop riffage punctuated by breakdowns. “Dearly Demented” serves as this album’s “Number seven with a Gun” albeit with added keyboard parts and a guest vocal spot. It’s a big lumbering mosh pit ready number with a breakdown that avoids monotony by coming out of left field and centering itself on a riff that would fit into an Iced Earth album. But just as this track ends, the band takes a complete 180 and drops a power ballad on you. Yes you did read that right. This is the first of two songs that show Bleeding Through expanding into directions previously left untouched. The Truth is the band’s most accessible and radio friendly album, and “Line in the Sand” is living proof of that. This could have been a fantastic surprise but it has one problem; Brandan Shcleppati. Although he has continued to improve his singing since starting the band, his clean vocals still fall flat when they aren’t supported by strong melodies.

The second half of the album is considerably more effective than the first, which is a complete reversal of the last album. “She’s Gone” does everything the shorter songs off of “This is Love…” wanted to do and more. There is no reason other than the vocals that a fan of Chthonic wouldn’t dig this tune, especially considering that the ending piano bit is a dead ringer for one of the songs on “Seediq Bale”. “Tragedy of Empty Streets” is another shorter track that crams in the best riffs this band has to offer (the one that comes in at 1:00 is the best the band has ever done). The last two songs before the title track represent more of the schizophrenic urges that Bleeding Through struggle with on the album. “Return to Sender” highlights melodic singing and grandiose keyboard parts, along with short guitar solos, and “Hollywood Prison” embraces fast riffs, tough guy beat downs, and has the single most badass line lyric on the album. When some one says that they’ll rip out your spine after ten songs describing his emotional distress, you’d better believe that he’d do it.

The title track of the album is essentially a giant question mark. It’s a dark brooding post metal song, with no vocals, a bass solo and swooshing keyboard parts. If it weren’t for the production and keyboard settings, I could see this on an Isis album. After the last strands of feedback worm their way out of my speakers I am left wondering: “What is the true Bleeding Through?” Is it the poppy yet hyper aggressive songs in the first half of the album? Is it the rumbling brutality of the bands shorter tracks? The more experimental sections of this album show that The Truth often brings more questions than answers. Luckily for us, the band’s next album will set things straight once and for all.

Something seriously worth looking into - 90%

HCrew, December 16th, 2007

This album is one of the best I have heard recently, I picked it up, didn't know exactly what I had in my hands, After one listen I was hooked. The music from the very start makes you want to listen to the whole thing to see where it goes, the musical style used is very aggressive and can really make you understand what the song is really about. The music also helps you understand the dark, brutal lyrics used.

The lyrics on this album are also very aggressive and full of pain, and suffering, and makes you wonder what kind of things inspired lyrics like these. I found these lyrics to be very creative but also very basic I found, which is a good combination to have in songs, It lets listeners of all ages understand them. I was easily able to relate to the lyrics on this album and was very very impressed with them.

The song titles, They may only be a small portion of the album but they can also get you in the mood for the music your about to hear, they allow you to see inside the song before you hear it and understand what the music is all about. I found the song titles themselves to be very creative and well worded.

The vocals used are extremely brutal and rough, this album has some incredible vocal work, able to get you into the songs that much more. I was very pleased with the vocals, and very it's very refreshing to hear vocals that are able to get me into the song as much as the music instead of just the music getting me into the song.

The sound quality is very impressive I found, pure clean sound, sounds very professional. I'm very pleased with this album and recommend it to anyone who is or isn't a fan of the metalcore genre, It is seriously a very good investment, and well worth the money.

Strong Deathcore at it's best - 80%

ThrashingMetal, October 2nd, 2006

This album is one of most pounding Deathcore records I've ever heard. It really can wear you down, but it's usually more uplifting because it talks about relationships and heartbreak, so you know you're not the only one. This album is slightly less influenced by Death Metal then "This Is Love This Is Murderous", however it is still a great album by one of metalcores elite.

The lyrical themes on here are just your average hearbroken rants, done in a skilled way that let you feel like their original and talking specifically to you. There is some profanity and Slipknot-like metaphorical violence, so parents might not like it, but all in all it's not bad for something in the deathcore genre. The production is the typical re-use and repeat beat like most metalcore, and can get a tad bit painful after awhile. Still, the much more melodic feel helps you feel more comfortable. Where the last was very extreme and guttural, this album is agressive, but not afraid to shred into clean-sung passages.

This album won't make you a fan of the sub-genre known as deathcore, but if you like agressive music about relationships gone sour, this is the one for you. Hopefully my review will be of some help to aid in your search for new albums/aritists.