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Deathcore: What It Should Always Be. - 95%

dorathekiller97, August 14th, 2018
Written based on this version: 2010, CD, Skull and Bones Records (Jewelcase)

So ill be honest, I'm a big fan of core music. I'm also a big fan of traditional metal music. I like both worlds quite a bit. In both worlds from what I've seen, very little comes close to this behemoth of a record. With 11 tracks and a runtime around 40 minutes (37:28 according to Metal Archives) it's not too long of a record but not ridiculously short. Which is good, as non-core fans will be able to put up with this one. For the simple reasons i will state coming up later on. And 40 minutes is not a very long time.

As you can tell from the title this is my favorite deathcore album. This is heavy and it has breakdowns. It will hit core fans in their soft spots like usual. But this one highly appeals to non-core fans too. With technical guitars, sweeps, drum fills, guttural immense vocals. Very clear elements of death metal and not the usual hardcore aspect you hear in most core music. It's a breath of fresh air breathed directly into the deathcore genre. For the reason being that it's quite unusually technical and more organic than most deathcore albums. Which is really saying something considering all the hate the genre gets.

So whats good about this album opposed to their Thy Art's and other core albums? Let's start with the guitars. Gary Markowski is the lead guitarist for this band. It's sad that he was (reportedly) stealing from the band and got kicked out. Because his guitar playing is phenomenal. Amazing riffs, technical sweeps, ball crushing breakdowns and guitar solos. Very memorable ones. Sean Delander is working in the background as the Rhythm guitarist. Keeping things going as he should, and does a pretty good job with it as well. Neither seems to drag any of the songs down with really annoying breakdowns all over the place and instead makes them feel organic and sound good.

Next the drums. The drums are good. Fast, blast beats and intriguing drum fills. Nothing too groundbreaking here, i'd say its more on the technical side of deathcore drumming. Again there are a ton of moments where the drumming sounds like death metal and not deathcore. So if you enjoy fast paced death metal or deathcore drumming, you will definitely enjoy this aspect of the album. As Lee Stanton obviously knows what he's doing on this record. Drumming is always on-point and doesn't ever feel like its out-of-place or not keeping a proper beat.

The vocals. Monstrous delivery by CJ per usual. The vocals of his seem to improve with each album. However he has something different about this album, and that is the brutal death vocals. (Check Laceration Penetration around the 2:17 mark) he doesn't seem to use these on other albums, if he does they are rare. You can find these a few times on this album. While others only once or twice for a very brief period. I for one really enjoy these. They go together well if they're placed carefully, and not an entire album sounding like this. In this case they're done well. Only problem being his pronunciation. Which a lot of people complained about, but got better with each release.

So whats bad about this album? Not much really, for a deathcore album there is usually a glaring flaw that's obvious to most people. Here there isn't much. But nothing is without flaw. The bass on this record is hard to hear. I always love to hear this bass on metal records whatever they might be. But here you cannot hear it well mostly due to how it was produced. Not that the production is bad per say. But it's just not the best. The production seems to enhance the guitars, drums, and vocals quite well. It just minimizes the bass because the other instruments just completely drown it out. Pronunciation is another issue with this album as I stated earlier. CJ is another thing. I like being able to understand vocals and I'm actually quite good at it I think. But with this record it is damn near impossible to understand his vocals unless you have the lyrics right in front of you. So unless you get picky about pronunciation or the bass not being very audible then there is really nothing bad about this record.

Go buy it. It's their best and probably always will be. This is worth anyones time if they enjoy heavy ball crushing riffs, drums, and vocals. Which is really what this kind of extreme metal music is about. This album is a 95% for me because the bass is inaudible and the pronunciation is again as I said before quite lacking.

One of the best deathcore albums of all time. - 93%

Erasofmisery, October 1st, 2015
Written based on this version: 2010, CD, Skull and Bones Records (Jewelcase)

Of all the TAIM releases, The Adversary easily takes the cake. This is one of the most brutal and technical albums you could ever find. Deathcore and even death metal fans alike would praise this album. And as much as I love Infinite Death, changing the style and direction of the band was a great decision.

Firstly I'd like to go to my favorite part, being the guitars. The riffs are absolutely evil as fuck and there are plenty of solos and sweeps employed in EVERY song, excluding the intro. They aren't being technical just to show off, but they are showing what they can do to fit the style, and the result is outstanding. As far as I know, all the guitars were written by former lead guitarist Gary Markowski, who in my opinion was a pure genius. The sound and style he had in mind worked perfectly. I was sad to see that he wasn't in the band anymore, because I highly prefer the sound of The Adversary over the sound of any other of their releases, mainly Hate.

Secondly, the vocals are just as crushing and were most definitely a major part of the album. CJ's vocals sound monstrous, powerful, and sickening. His highs are full of rage and ferocity, while his lows are deep and full of anger. He also occasionally uses deep gutturals which aren't used quite as often but still maintain the same amount of power as his other vocal styles.

Next is the drums. Considering he was the youngest member of the band, Lee Stanton proves himself to be one of the fastest, and most consistent drummers in metal. The incredible speed he utilizes and his constant blast beating is very impressive. He also pulls off some very fast double bass kicks. Even if he wasn't so young, I'd still be just as impressed with Lee's drum work. His drums beats hit extremely hard and absolutely crush whenever they come.

Sadly, there is no bass to be heard on this album, which is a shame because having bass would make this album even better than it already is. CJ also tends to do lows more often and sometimes not fully utilize his range. Another minor con is that all the songs seem to have the same general structure and pattern, and tend to be repetitive. Usually an just blast beating, vocal lines, breakdowns, and solos. That's not to say that it is bad however, it is all amazing, but the songs could be a bit more varied, that's all. Speaking of breakdowns, there are half as many on this than on your average deathcore album, and when they come, they absolutely fucking deliver. The intensity in the drum hits and the heavy tone of the guitar fits perfectly together. There are some songs that are more memorable than others because certain songs are just more appealing. For me, the first six songs are all fantastic, I get a little bored around the next three songs which are overall just less interesting but still very solid, don't get me wrong. And the final two tracks end the album off perfectly. One being a powerful instrumental which pumps you up for the final track.

All in all, TAIM put out nothing but a solid, amazing album with a ton of effort, talent, and hatred poured into it and out came one of the best deathcore albums to exist. I wish they held onto this sound because it puts everything else to shame. They improved very well after Infinite Death and I was hoping they'd improve even more afterwards. Still, this album is a work of art, and is very underrated. Out of all the TAIM albums, this album is given the least credit and is looked at a lot less than their other records. If you love technical or melodic death metal like The Black Dahlia Murder or The Faceless, then you will probably like this just as much minus the breakdowns. If you are a fan of deathcore, you will love this album no matter what unless you prefer very simple, more chugged deathcore.

This Is, By Far, Thy Art Is Murder's Best Release - 100%

DarknessShadows666, June 5th, 2015
Written based on this version: 2010, CD, Skull and Bones Records (Jewelcase)

Thy Art is Murder is a band that I find to be good, but not great. Infinite Death is okay. Hate is good, but not great. However, The Adversary, the record I am reviewing right here is downright awesome. I would even go as far as to say it's perfect. I can't find anything about this album to complain about. It tops Infinite Death and Hate by a long shot. I think Hate is a bit of step down, but it is still a good album nonetheless.

As you can see, they got a different vocalist on this album. Brendan van Ryn, their previous vocalist, left the band. I'm kind of glad. Brendan is a decent vocalist but CJ McMahon, their current vocalist, is so much better. I think CJ is one of the best vocalists in the genre right now (not the best, but one of them). He makes Brendan look like a 9 year old. The vocal styles CJ uses on here are growls, screams, screams layered over growls and gurgles a couple of times on "Laceration Penetration" and "Engineering the Antichrist." All of these vocal styles sound awesome and don't give me anything to complain about.

The guitars are pretty technical with interesting and memorable riffs. They are fast and there are also guitar solos which I personally enjoy. The bass, as expected, is inaudible. Then again, this is deathcore. This shouldn't be a surprise. I've gotten used to inaudible bass and it really bother me. The drums on here are triggered but they are pretty solid. They are fast and powerful with blast beats and double bass. Since this is a deathcore album, it is obvious that there are breakdowns. However, you're wrong if you were expecting a shit storm of them. There are breakdowns in every song but they aren't frequent. This album has more riffs than breakdowns. The breakdowns that do occur are great though.

Not only is CJ a better vocalist than Brendan but he is also a better songwriter. I didn't mind the misogynistic lyrics from Infinite Death. I found them alright. But I prefer the anti-religious/Satanic lyrics on here (the track off of Infinite Death known as "I'll Show You God" is dealing with anti-religious topics but still. The lyrics present here are better). These lyrics interest me more than those of Infinite Death. If you're someone who happens to enjoy anti-religious or Satanic lyrics like I do, then you will like these lyrics. The album gives off an evil vibe that I happen to enjoy. The evilness of this album makes me want to worship the almighty horned one and burn down every church on the planet (well, not really. But you get what I mean).

So overall, this album is amazing with brutal vocals, solid drums, fast and memorable guitar riffs, great breakdowns, interesting lyricism and an evil atmosphere. I would recommend this album to deathcore fans (more specifically fans of bands in the genre like Whitechapel and Carnifex) and even more open-minded death metal fans. It gets a score of 100/100 (10/10) from me. Standout tracks for me are Laceration Penetration, Engineering the Antichrist and Coward's Throne.

Oh, they are also releasing a new album this month called "Holy War." I'm actually excited for that album and I want it to be awesome. Though I hope that for that album, Thy Art is Murder makes it sound more like The Adversary than Hate.

Here We Go Again... - 0%

Nokturnal_Wrath, February 28th, 2014

Whenever I feel like ripping something to shreds I turn to Thy Art is Murder, and lets face it, they always deliver. This Australian band is one of the worst deathcore bands I've ever heard, and although The Adversary is being lauded as a commendable deathcore release I personally don't see it. Okay, so it's not as annoying as Infinite Death, they got rid of the old vocalist and hired a new one so it seems like they're actually trying to do something with their sound. There's far less random technical noodling on display here which would be a good thing if the rest of the music was actually, you know, interesting.

The Adversary is boring, unbearably so. Songs follow the same structure, there's an abundance of breakdowns and palm muted riffing. Vocals are tolerable, the high screams are thankfully more bearable than those found on Infinite Death, but they lack character and sound weak. The low growls have more power behind them but they too lack character, he sounds like plenty of other deathcore vocalists and he adds nothing to the music.

Vocals are never the most important aspect of an album, so I'll focus on what matters the most; the instrumentation. The guys in Thy Art is Murder can handle their instruments well, that's pretty obvious, but they can't write cohesive material at all. Breakdowns are placed frequently and randomly within the music, there's no flow between each riff with each transition being rough and unpolished. The lead work ranges from technical leads, solos to palm muted riffs. Each one is uninteresting. The technical leads are well written enough but each one sounds the same, there's no variation between each riff and thus the whole album blurs together. The breakdowns are by far the worst part of this album, being frequently used, they add nothing to the music and make me hate it a whole lot more. There's easily more than 2 breakdowns each song, always popping up in the most predictable places. That sums up the whole album perfectly; predictable. Each song follows the same format of technical lead, breakdown, solo, another breakdown, rinse and repeat.

Not much of anything happens on The Adversary, the riffing is diluted and sterile, vocals lack character and the breakdowns are among the worst I've ever heard. Infinite Death was atrocious but at least it had more character than The Adversary. What this is is a pathetic attempt from a band trying to gain some credibility after releasing an absolute shambles of an ep and completely failing in the process. The fact that I've reviewed this album means I've listened to it all the way through, twice in fact, and I will never forgive myself for that. Avoid at all costs.

Giving a good name to Deathcore! - 65%

Tjler, May 27th, 2013

If you like Slam/Brutal Death Metal or Deathcore this is definitely a must album to listen to. If you're a fan of Devourment or Rings Of Saturn this is definitely an album for you, it has technically brilliant riffs and solos, brutal vocals and superb drumming (minus the triggers). The album doesn't have the atmospheric qualities found in their later album 'Hate' but it does have redeeming technicality and original song writing. If you come to this album to look for quality lyrics, you're in the wrong place. The lyrics in my opinion are "try hard", they don't have the brutality found in most Death Metal, and don't have the typical Deathcore lyrics but a failed mix up of both. But who here cares that much about lyrics? Certainly not most of us Brutal Death fans!

Adding a new vocalist was one of the best decisions the band made, they are now brutal as all fuck with some of the best highs and lows found in Deathcore. Some of the over laid vocals work, but than some don't and become to much at once. I feel as if the vocals have had some heavy effects put on them. The song writing is a lot better than on the previous music and is not as repetitive as on their latest album. The guitars blaze through the album with insane riffs and have some beautifully melodic yet technical solos that show that not all Deathcore bands are just Chugga Chug. The drumming is awesome but some of the triggers let it down slightly, sadly the bass guitar isn't prominent enough and takes a back seat compared to the rest of the instruments.

In comparison to their older work it is definitely a major step up and the album can be appreciated by Death Metal and Deathcore fans alike. Sadly only one track stands out to me and this is 'Cowards Throne', the rest of the album to me is great but personally none of the other songs are as memorable as this one. The breakdowns in the album are tasteful and brutal, unlike quite a few of the Deathcore bands out there now. The album gets stale and most songs are very boring in comparison to a lot of other Brutal bands out there.

I personally prefer 'Hate' over this album purely for the vocals being far better and crushing atmosphere it holds, but from a musical and technical standpoint this album is far superior.

One of deathcore's finest: memorable and original - 95%

GuardAwakening, March 20th, 2013

Why did I not review this album earlier? I can tell you right now The Adversary is not only one of my most favorite extreme metal albums ever, but also probably the best deathcore release of 2010 coming from a year filled with the likings of the insanely great Hell Chose Me by Carnifex along with other contenders including A New Era of Corruption by Whitechapel, Desolation of Eden by Chelsea Grin, Proprioception by And Hell Followed With, America's Most Haunted by King Conquer, Malevolence by I Declare War and numerous others. But if I could pit any of those up against this record, it would probably have to be Hell Chose Me, I enjoy that album to a big extent. However, The Adversary is just... too damn good. Everything that should be deathcore is this album and they couldn't have done this better. Not only did they acquire a better vocalist who suits the band much more and putting Brendan van Ryn's overly whiny deathcore voice aside, but also upped the death metal influence by about 5 times, leaving the metalcore on the backburner (although still peaks in the music sometimes i.e: breakdowns and screamed vocals).

Every song on the album feels like it has its own memorable parts, I can easily distinguish each track from the other and they never blend in or sound tedious which is the most amazing part when hearing an album in this genre. I can enjoyably listen to this record all the way through on a regular basis. The songs, while usually fast, all have their own trademark parts, interesting moments and fun magnitudes to their own respective gratitude. Also the lyrics have also ditched away the misogynistic and pointlessly violent theme; this time focusing only anti-religion. Yes I am aware this was a topic covered in one song on the band's Infinite Death EP on the song "I'll Show You God". But here, it feels a lot more captivating and better put; more mature than that of anything lyrical spoken on the EP. Take it like this, would you have some kid screaming at you that God isn't real, or have a grown man give you numerous points to his own perspective on why he has no faith in any religion whatsoever and that it's destroying the world? I'll just leave that question to you.

Another topic I wanna cover is the drumming. One of the sweetest and sickest things on this record is Lee Stanton's absolute sick skinswork. He was ONLY 19 ON THIS ALBUM FOR FUCK'S SAKE; the youngest member of the entire group and he's just as talented, if not more talented than the whole band. The ferocity of his blasts in-combination of the aggressive and shredding dual guitarists creates this whirlwind of brutality which I can modestly say, is death metal done right. But this isn't even a death metal album; it's deathcore! A lot of death metal bands alone can't even master this type of ruminative eccentric teamwork, but yet a deathcore band can? Surely shows the haters of the genre what they're missing out on. Speaking further; the breakdowns on this album are never overdone, everything breakdown is maybe once or twice a song and placed almost perfectly. Never any forced "throwdown mosh" parts anywhere here until it totally feels like it should be done. Also guitar solos are a very frequent thing here too, heck, the band even throw in a Nigel Thornberry SMASHING instrumental piece right before the final track entitled "Requiem" which is technically just one big 2-minute solo.

Finally the vocals; I already spoke of these in-contrast to the band's original vocalist but I just have to say it again; McMahon is simply so much better than Brendan van Ryn. He's best suited and described as a real death metal vocalist that I would even compare to Frank Mullen or Ross Dolan, just with a slight Aussie accent on the overtone. His growls are not only ferocious, but he also alternates this vocal style with of course the screamed vocals (usually almost always dual tracked with a growl) and of course the insanely deep gutturals which are about as brutal as they are completely understandable in contrast to his usual growl which actually remains pretty understandable sometimes without even the need of reading the lyrics.

All in all, this album is a near-perfect deathcore album. Everything you liked about Thy Art Is Murder previous to this is here but on steroids and grown up. Gary Markowski's laster-fast sweeps, Mick Low's bass rumbles and Lee Stanton's blast beats are all here but this time fronted by an even better vocalist. This album is amazing. That's all I need to say.

Thy Art have stepped up their game - 92%

jewk, June 6th, 2012

Come on, as they'd only previously released a demo and an EP. You have to give them the band a chance, even though the two previous releases were boring and plain with a total of about 2 decent tracks, they still deserve a chance. The Adversary shows why. It’s fast, aggressive, and technical, I don’t know of any band that has changed their style for the better so quickly. Going from a below average whiney core vocalist, they got a new vocalist. Thy Art now has a lot more to the band, making them more interesting.

Now I’ll talk about the album itself. The first track (excluding the intro ‘Unholy Sermons’) ‘Soldiers of Immortality’, starts off with some nice guitar work, but then speeds up with some technical riff-work and some powerful growling from CJ. You can hear right from the start the amazing work that Lee Stanton has done on the drums, fast and aggressive, the whole album progresses like this, with technical guitaring, fast drumming, and brutal growls. Another thing to mention about the new and improved Thy Art Is Murder is that they actually have PROPER guitar solos, gone from s***ty core solo rip-offs to proper, technical solos. Next song is ‘Laceration Penetration’ which is probably my most favourite of the album, which starts with some chugging along, but then again CJ’s brutal vocals kick in and speed everything up. Lee’s drumming is perfect for the song (and entire album for that matter), with some fast double-bass and speedy drum rolls. About 1:30 into the song is where things start to get insane, Lee’s drumming, technical guitaring and some of CJ’s best vocals following a nice little guitar solo.

Skipping to the end of the album I’ll talk about ‘Cowards Throne’ which is another masterpiece from The Adversary. Starting off great, to ending great; the whole song is technical and brutal from start to finish. CJ’s vocals speed up and down, suiting the music perfectly. Lee pulls off some more amazing work with his drumming, and makes this song even more aggressive. Again, with the guitars, aggressive and technical, changing from your occasional –CHUG-CHUGGA-CHUG-CHUG-CHUGGA-CHUGGA- to your more technicality with the higher strings instead of the lower strings.

All in all, Thy Art Is Murder has done a MASSIVE change from your generic deathcore to some technical death metal/deathcore. The lyrics are the best they’ve written and the vocals bring out the brutality they have put down on their paper. Personally, Thy Art Is Murder done one of the greatest changes I’ve noticed. This album is a definite 9/10 effort.

now i have to like this band ;-; - 83%

MutantClannfear, July 21st, 2011

This is I have never seen a shitty band change their act so quickly. What the fuck happened? Last time I checked, these guys were playing Suicide Silence-worshiping deathcore with insipid breakdowns and constant blasts with riffs so downtuned they were impossible to pick up. Now it's...old-school Cryptopsy with breakdowns, I guess. Think of it as a perfection of the formula used on The Unspoken King. And the odd thing is - it fucking works. This album is not great, no, but it's a good example of how deathcore should be - fast, brutal and relentless, with the occasional, djent-influenced, mid-pace breakdown.

Let me first call out this release on its shining element - the fucking speed of these compositions. It surpasses Brain Drill, Fleshgod Apocalypse - hell, I haven't heard death metal riffs this fast since Cryptopsy's None So Vile. The riffs themselves are slightly melodic tech-death numbers, and they're usually made faster by a constant snare beat behind them. Sometimes the band even combines deathcore chugs with these fast riffs (like at 1:23 in "Laceration Penetration", which is similar to the infamous blast riff in Cryptopsy's "Phobophile"), and despite all laws of how music should sound, the band makes these riffs work somehow. The breakdowns are still there, but mind you they're placed aptly in the music, in places where the pace needs to slow down a bit. Besides that, they're just fucking good. Most of them consist of polyrhythmic djent triplets, and they're altered every so slightly every time they're used, so they're never truly boring. Indeed, these are some of the best breakdowns I have heard in a long, long time.

As I've mentioned before, the drums are almost constantly blasting to give the music a feeling of speed. Thankfully, unlike some bands (certainly none whose names rhyme with Freshmod Uhknockalips) the snare isn't intrusive in the mix. It's rather quiet, actually...maybe a bit too quiet. Great drumwork on this album, regardless. As for the vocalist, Thy Art Is Murder ditched their old shitty Mitch Lucker clone, and in his place is a guy who can best be described as Glen Benton in constant low-growl mode with a slight Aussie accent. The man's vocals have none of the distorted gurgly nonsense that most of his contemporaries do. There are also brutal death metal-esque gurgles every now and then, often used on dual-track vocals on this album to accent whatever other vocals are going on at the time. Sadly, they're rather weak-sounding (but what was I to expect from a deathcore band?), but I suppose they make the cut. His screams are deathcore shrieks, but they shed away most of their whiny -core tone, and instead opt for a rather black metal-esque rasp. Neither the growls or screams are mindblowing (though I was impressed with the dual vocals at the start of "Soldiers of Immortality"), but they fit the music and aren't offensive either way.

My gripes about this album are small. For one, this release is very single-minded - two songs in, the listener knows more or less what the rest of the album is going to sound like. The production job could use a good amount of bass added to it, a la new Job for a Cowboy, and while I'm bitching about how things sound, the cymbals on the drumkit are hollow and annoying, particularly the china. Finally, the drums could be just a bit louder in the mix; the guitars seem to overpower them more often than not.

But those complaints are pretty much nitpicking when one considers the overall quality of this album. I'm not sure if anyone was expecting this from the people who released Infinite Death and presumably got egged off every gig they tried to play. This is exactly how The Unspoken King should have sounded, and if you don't mind continuing to label Cryptopsy as a deathcore band, feel free to think of The Adversary as a muscial progression from that album. All in all, this is a great technical death metal album with some nice, legitimately catchy breakdowns, and I'd recommend it to fans of Brain Drill, new Job for a Cowboy, and Origin. I'd also recommend it to people who wanted to find a reason to stop mocking one of the shittiest deathcore bands to ever exist.

Technical and Brutal. A deathcore masterpiece - 100%

DomDomMCMG, July 11th, 2011

Thy Art Is Murder in their early days were little more than an uninteresting Suicide Silence clone. Their vocalist sounded like a whiny little 5 year old on helium and their music was little more than repetitive breakdowns. 2 years after their EP "Infinite Death", they found a new vocalist and started work on a full-length, and what an improvement. Long gone is those horrible whiny vocals and irritating CHUGGA CHUGGA breakdowns, replaced with genuine death growls and more solos than you can shake a stick at.

The guitars on this release are really fantastic. Nice heavy tone. The riffs are very heavy and very interesting, and the solos. Man, the solos. These aren't dry, soulless solos that every deathcore band has mastered. These are genuine technical solos that bring thoughts of Necrophagist or a similar band. These mini shredfests pop up several times, usually in the same song, but each time sound different. Some of them are memorable, others not so much. This album also has breakdowns, but they sound more tech death based than metalcore based, which should please anyone who would rather hear shades of Suffocation than Suicide Silence.

The drumming on this album is also great. It's blatantly triggered, but if you can look past that, then you should enjoy them. Perfect blast beats, solid fills and skull smashing double bass a-plenty. Again, nothing original. Just good enough to do the job.

The bass guitar, predictably, cannot be heard, unfortunately. This sadly loses the album some points.

Finally, the vocals. Like I said before, the old vocalist was trying to channel Mitch Lucker of Suicide Silence fame, and doing a much worse job of it. He sounded like before his performances he sucked a load of helium out of a balloon. Fortunately, TAIM got a real vocalist to replace him. He has a reasonable range, nothing extraordinary. He uses standard death growls, a fewer higher pitched screams and occassionally some guttural slam gurgles. Not one style is overused, so the vocals never got boring, a problem that affects most deathcore these days.

The only real problem this album has is the useless intro. It fails to set an atmosphere or prepare you for what's to come, and could've quite easily have been left out

Overall this is just over 37 minutes of quality technical death metal with some deathcore elements. A must-have addition to your collection if you're interested in tech death, deathcore or both.

No more core bullshit - 80%

mrdanteaguilar, April 28th, 2011

What a huge improvement these guys have made with this album. No more generic sissy deathcore bullcrap and certainly no more annoying angry kid vocals. Perhaps a few breakdows are present but they actually sound good and memorable. This album has nothing I haven't heard before, since many of their riffs sound very similar to other bands. But hell, just ignore that and you'll have a very memorable, brutal and enjoyable moment while listening to these Australian fellows.

First of all this album has no more angry kid vocals, meaning the annoying ultra high pitched voice has been dropped and instead they have an actual death metal vocalist that knows how to deliver very brutal sounding growls a la Decapitated. I BULLSHIT THEE NOT. No pig squealing either, so you can feel relieved now.

You will also enjoy the guitars, having memorable riffs and something I've never thought... solos. Yes, and not the typical forced bad sounding guitar leads that pretend to be solos like the ones Job For A Cowboy has mastered. Instead Thy Art Is Murder incorporated proper sounding solos with a punishing guitar tone that will almost bring Behemoth to your mind. Again, THIS IS NO JOKE

Lately the metal scene sees no importance in the bass guitar and these guys have done the same thing. The bass sounds deep but it's nothing that Alex Webster would acclaim.

Last but not least, you have triggered yet very astonishing drum patterns with furious double bass and very solid blast beats. Some breakdowns may appear as well but they don't predominate, so do not worry.

Reluctant tracks: Laceration Penetration, Engineering the Antichrist and Cowards Throne.