Pinnacle of Bedlam

Four years after another disappointing record in Blood Oath, Pinnacle of Bedlam showcases significant changes, like the overall music and lineup. Upon Mike’s departure for the second and last time, Dave Culross (for the second and last time as well) returned to drum for the band. I think had the opportunity to show his technical abilities behind the kit to much higher dimensions, as well as writing better music compared to Despise the Sun. The production sounds like a downgrade from Blood Oath, but then again, it doesn’t sound as commercial. So maybe I shouldn’t complain to that extent. The record thematically got the inspiration from the 2012 phenomenon, from what I can tell; end of the world horseshit... The album cover doesn’t do it for me either; seems extremely generic.

While all the songs sound different from each other, distinguishing articulate guitar solos, great drums work and bass, and Frank’s growls sounding as good as ever, most of them hardly offered anything unique, let alone memorable. Most of the so are very forgettable. I can say that, with a few examples, the first half provided some of the best guitar solos in the band’s existence. As Grace Descends has progressive guitar riffs and pounding blast beats, while Sullen Days presents a beautiful guitar intro and outro. Other than that, they didn’t contribute into sounding any more extraordinary than they could’ve. It’s always the few specific parts that are awesome, and that’s it. And, of course, they brought the ruins that is the re-recorded version of Beginning of Sorrow...

The only song that delivered on all aspects is the title track. I never understood what was so great about As Grace Descends (despite what I said above). This song offered the most and the band should’ve performed it live more. The music is perfect, presented to the fullest, with chilling guitar works, strong drums (even though the bass doesn’t sound as strong), and the lyrics are superb as Frank’s own voice.

Unfortunately, this is another disappointing installment in the Suffocation franchise. The music has definitely improved since the last two records, after their very own respective downgrades, but it wasn’t enough. I feel like at this point; the guys have lost momentum or gave up their true sound back in the good old 90s. Sure, adapting, changing, or moving on is important, but this record has done none of the three. Guy Marchais eventually left the band, after three consistently depleted records.