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BLEGH - 90%

raspberrysoda, June 13th, 2018

Neverbloom was amazing. Despite it being somewhat repetitive, it still managed to kick serious ass with being one of the best deathcore releases of all time. Since then, the band has ditched its sound from the super heavy blackened deathcore into symphonic metalcore, which is the sound that dominates this album.

The first noticeable thing about this album in comparison to other MTS albums is the use of riffs in a style never seen prior to this album. The Emperor influences are almost completely gone, and are replaced with a riffs remiscent of Architects, which isn't a bad thing at all. Djenty, heavy, and melodic riffs dominate this entire album, and they do it quite successfully. They sure do their job and are not overly repetitive- a thing most metalcore bands these days don't achieve.

Albeit the music of the band changing as a result of turning into modern metalcore, this album still shows a level of sophistication barely seen among other similar bands. The "AA AAA AAAA AA A" in Vortex part is actually a morse code, which translates into "Ishie" (Interdimensional Spiral Hindering Inexplicable Euphoria) - the name of the song. Other than that, one can sense a slight shoegaze influence remniscent of Deftones' Around the Fur in songs like "Fireworks" and "Grinding Teeth" as a result of the droning riffs, the stellar atmospheric keyboard performance´╗┐, and the crystal clear female vocals. The use of symphonic parts is a well known thing in MTS's discography, and as usual, are executed tastefully and wonderfully, even though the lineup has changed since the female vocalist/keyboardist has changed.

There are barely any faults in this album, and the only thing that drags it down is the overt repetition in some sections of it. These sections are sparse and hold no value in comparison to the rest of the album since the ideas presented in the songs constantly evolve and change. The songs themselves are very distinctive as well- from the energetic and hyper melodic "Uncharted" and "Save Yourself," to the groovy "Midnight Run" and "Dead Plains." The use of ambience brings a refreshing atmospheric dimension, and provides even more dynamic values to this already varied album.

The vocals are some of the best in the genre, since Sean utilizes so many styles throught the duration of Worlds Apart. The black metal influence is completely gone only on the musical level, since he spews some really evil shrieks. Other than that, there are exquisite growls, grunts, screams, and spoken words section scattered through the entire album and are done very skillfully and tastefully- with being complemeneted by the clean female vocals. As with many metalcore acts, the lyrics have a distinctive personal/confessional aesthetic to them. They are written very well and are not forcefully emotional which is a thing many bands of the genre use nowadays.

The production in Worlds Apart is stellar. It is very reverb driven which adds to the "gazey" nature of the album, but it does not detract from the clarity of the instruments (aside for the bass, which is somewhere in the back). The stellar drums are not too high or low in the mix, a less common thing among similar bands nowadays- which is definitely a great thing. The mixing is perfect and suitable for a release like this, with emphasizing the atmospherical merits of it.

Very few are the bands that excel in every release of theirs, and showcase the talent of their members both musical and production wise. MTS is definitely one of those. Highly recommended.