Hatebreed [Explicit Lyrics]

Hatebreed | Format: Audio CD

Product Details

• Audio CD (September 29, 2009)
• Original Release Date: 2009
• Number of Discs: 1
• Format: Explicit Lyrics
• Label: Koch Records
• ASIN: B002IVLWGA
• In-Print Editions: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (19 customer reviews)
• Amazon Best Sellers Rank: #68,928 in Music (See Top 100 in Music)

Editorial Reviews

From the Artist

Front-man Jamey Jasta comments, "This is our fifth studio album and it's a monster! We've survived some pretty rough times and the music shows it. There was no reason to change the recipe that our fans know and love but we added a few brutal new ingredients and we're more than amped on the results. Violence is a given!"

Jasta elaborates, "I feel this new album is a true crossover record in the sense that our metal and hardcore roots are evenly represented throughout it. There's still the fast East Coast tuned down Hardcore that people know and love, yet there are metal influences that shine through on almost every song. The speed is there, which we even kicked up a few notches on some of the songs, but the groove and slower tempos are represented. On HATEBREED, there is a violent mix of straightforward anthem headbangers, fast thrashers and brutal breakdown after breakdown. There's something for everyone."

Product Description

Grammy-nominated. Respected by peers. Revered by fans. An unstoppable force. Tougher than a prison yard. Architects of positive, uplifting anthems that require and demand crowd participation. That's Hatebreed, top to bottom, back to front.

This Connecticut hardcore/metal institution has been demolishing its way around the globe since 1994. Not many bands can enjoy that kind of longevity, but Hatebreed have made "being a career band" look easy. They've endured typical band "issues" like changing members and record labels, but through it all, they've never compromised and never looked back, instead choosing to charge ahead and make the most brutal, boot-to-the-teeth music they can.

And here they are, 15 years into their storied career, which includes four stints on the quintessential summer tour Ozzfest, racking up more appearances than any other band other than Ozzy himself; there are countless magazine covers (including a forthcoming issue of American metal Bible, Revolver); a Grammy nomination for "Live For This" from 2004's The Rise of Brutality; a debut album, Satisfaction is the Death of Desire, that is considered a classic release by fans and critics alike; a front-man who was invited to serve as the first host of the exhumed Headbanger's Ball on MTV2; and countless fans who hail from all walks of life. Go to a Hatebreed show and you'll see dudes, girls, and casual metal fans with a soft spot for Hatebreed. Hatebreed's music is like a universal language that so many speak and comprehend.

Despite all the accolades, the rich history and the band's keen ability to remain relevant deep into the second decade of its career, Hatebreed refused to rest on their laurels for Hatebreed, their fifth proper studio album, not counting 2009's For The Lions, which found the band flexing its creative muscles and covering influences such as Slayer, Misfits, Agnostic Front, Cro-Mags and Sepultura! The band retains the same headspace from For The Lions, by confidently trying new things and attempting different things to result in fresh, unexpected sounds.

For Hatebreed, former guitarist Wayne Lozniak returns to the fold and the band inked a new record deal with E1 Entertainment for U.S. and Canada and Roadrunner International for the rest of the world. This flurry of activity has infused the band with new life and a renewed sense of energy and as a result, everything about Hatebreed is bigger, stronger and louder. It's like the band has been rejuvenated by all these changes. After 15 years of brutality, the music is fuller, more technical and Hatebreed finds the quintet boldly going to new places. The results are beyond impressive and the risk has yielded a greater reward.

Each track on Hatebreed is both like everything you'd expect and nothing like what you are expecting, a testament to the band's ability to change without veering too far off course.

"Become The Fuse": The song boasts the technical playing that defines the album and is bolstered by Jasta's authoritative vocals.

"Not My Master": An anthem in the classic "Hatebreed style," the song boasts a bold chorus, simple `n savage riffery and a singalong. This is vintage Hatebreed, which will delight fans old and new.

"Between Hell And A Heartbeat": The band goes beyond 2-minute hardcore anthems, with a Slayer-style rocker that rattles teeth loose from gums.

"In Ashes They Shall Reap": With its shrill feedback, which is reminiscent of classic, live hardcore matinees at CBGB, the song is new territory for Hatebreed, with Jasta employing a singing vocal style not previously heard on Hatebreed records. The influence of his side project, the sludgy Kingdom of Sorrow, has found its way into a Hatebreed song and it works.

"Hands Of A Dying Man": Thrashes and burns and leaves a mark with its fast and thrashy riffage. A hallmark, signature Hatebreed chorus and technical guitar work abound.

"Everyone Bleeds Now": Chunky and riffy, the song is not so much a change of direction or a change of pace as it is building upon the already- sturdy Hatebreed foundation.

"No Halos For the Heartless: There's layered melodies and singalongs that could have been birthed at Toad's Place in Connecticut or at any venue in the Bay Area. The band displays its influences but makes the sound unique and its own.

"Through The Thorns": A song with Hatebreed signature moves, like empowering lyrics and a positive, yet devastating pit factor.

"Every Lasting Scar": A venomous song that gets the red out, thanks to its cathartic, cleansing metallicness. But once again, Jasta has the confidence to do new, different things with his voice, like sing!

"As Damaged As Me": Destined to become a song you send to someone who has fucked you over!

"Words Become Untruth: Like Cro-Mags, Slayer, and Testament all rolled into one, but with Hatebreed's unique flourishes.

"Undiminished": The most unexpected, yet satisfying song on the album. It's a doomy instrumental that clocks in at nearly four minutes.

"Merciless Tide": Another Hatebreed anthem that'll have kids in the pit screaming along, finger pointing and quoting it on their Facebook status updates.

"Pollution Of The Soul": The band goes out like lions on the final song, another classic Hatebreed anthem.

It's clear from all the different and new elements on Hatebreed that this band, who has seen and done it all within their genre, has had the courage to test their creative limits and exceed them , by trying new things, such as more pronounced, technical guitar work and through Jasta's vocal prowess. But the band never sacrifices the ultra-aggressive music in order to try new things. The band took risks and the dividends will be reaped once fans hear Hatebreed.

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

5.0 out of 5 stars Still the have it after all these years, September 29, 2009

By 

Richard (Florida) - See all my reviews

This review is from: Hatebreed (Audio CD)

I can't believe that I have been listening to Hatebreed for over 10 years now. Back then their songs were the soundtrack to my life and the barriers I was overcoming. This album is more of the same and although I'm not as angry as when I was younger and my life is actually pretty good, these Hatebreed songs can help inspire anybody that is going through some adversities in life. To me Hatebreed has always been more about the message than anything else.

2 of 2 people found the following review helpful:

5.0 out of 5 stars Everything Good About Hatebreed And Much More, October 8, 2009

By 

Michael (FL United States) - See all my reviews

This review is from: Hatebreed (Audio CD)

It's too bad that Supremacy wasn't as well promoted as Hatebreed had hoped it'd be. It was a good record. So after leaving Roadrunner Records, they signed an interim deal with Koch Records to put out a few releases before they figured out where they wanted to go with the next record. Soon came Live Dominance, a badass live dvd with a killer show filmed in Detroit featuring a long setlist of some of their heaviest, and best songs ever written. Then there was For The Lions, the covers album featuring songs written by Slayer, Metallica, Cro-Mags, Suicidal Tendencies, Black Flag, and many others. A live album that was recorded in Texas with Vinnie Paul (Pantera, Hellyeah) co-producing was promised, but has not been released to this day (where's my live cd, Hatebreed?). Anyway, here we are with the band's self-titled effort which sees them back on an independent label after spending time putting out records on Universal and Roadrunner, this time on E1 Music (formerly Koch Records). Longtime guitarist Sean Martin is gone, but longtime friend and ex-guitarist Wayne Lozinak is back and is showing that he hasn't slowed down one bit. I know it seems cliché to say that the band has matured as they really haven't matured much over the years, but this record is probably about as mature as it gets. The band has found a way to keep things fresh this time rather than putting out another album with the same sound as they have with the last couple of records. There's actually some thrash metal moments, and Jamey Jasta even tries out some use of clean vocals to make it more interesting. Overall, a devastating record. I almost passed on this thinking that Supremacy would be the last great record the band would put out. From Perseverance and onward, each album got heavier and heavier, and I wasn't sure where they'd go with the new one. This shows me they've got more tricks than I thought.

1 of 1 people found the following review helpful:

4.0 out of 5 stars Hatebreed begin to evolve, August 1, 2011

By 

A. Stutheit "Teyad" (Denver, CO USA) - See all my reviews

This review is from: Hatebreed (Audio CD)

So it is absolutely no secret that the popular buzz surrounding this album is that it finds Hatebreed taking a few clearly huge (or at least substantial) strides towards experimentalism. Although when considering just how much the sound has changed for this 2009 self-titled effort, a more accurate description would have to be "musical maturity/growth" and "evolution." And it is high darn time that the group started to do something new with their sound! After all, "Hatebreed" marks the sixth release from the studio, and seventh record, overall. Hatebreed formed many years ago -- a decade and a half, to be exact -- way back in 1994. The following year (1995) was when their official debut (the really brief - and almost E.P.-esque -- "Under The Knife"); although they never really got going as band until their popularity boomed in 2002. And soon after signing to a major label and releasing "Rise Of Brutality" in 2003, Jamey Jasta and his men enjoyed much more success and fame when the metalcore genre started up , and began to spread widely across the nation. (Plus, being one of the first to hail out of Connecticut/Massachusetts gave them an inside edge.) But even despite being apart of record labels like Roadrunner, selling a fairly whopping amount of discs, and garnering much attention in the world of heavy music (including that of Slayer's Kerry King, who had a cameo on "Perseverance"), Hatebreed never went soft for the duration of their decade-plus of existence. They did, however, undergo quite a bit of negative feedback and unfair scrutiny from many-a-hardcore diehard. Purists hated how the sound changed over the years, shifting away from the traditional hardcore taken on said debut, and discovering a distinctly more metallic fervor in recent years. As a result, this band now has more in common with the current thrashy metalcore, groove metal, and moshcore scene than old-school hardcore.

"Hatebreed" definitely continues in this "more metal" tradition. But the reason it is such a noteworthy release is because of it possesses a few elements that are unquestionably no where to be found on any of the five previous full-lengths. No? Well, get a load of this: A track called "Undiminished" is a beautiful interlude complete with nice, lightly-plucked strings, bloated, docile harmonies that soar overhead, and astonishingly accomplished melodic soloing. The end result is a textured, prog-lite interlude that would be a perfect fit coming from the likes of In Flames, Burst, Misery Signals, and Killswitch Engage. (Take a minute to pick your jaw up from the ground!) Elsewhere, it is not uncommon to find the album flirting with restraint and slow(er) tempos, as in the few textured, ringing chords heard in the intro of "Not My Master." Then there's the beginning of the next tune, "Between Hell And A Heartbeat." Despite its metalcore-lite title, sludgy, droning guitars, plodding tempos, and foreboding stoner metal-derived repetition are what dominate its arrangements. As one last prime example, consider the eleventh song, "Worlds Became Untruth," which takes-on a positively doomy note, thus becoming extremely dark, moody, and ominous. It features gnawing, depressive power chords, walls of feedback, and a really cool, grumbling, downtuned bass intro. As you can see, the experimentalism on tap, here, is by no stretch of the imagination great or expansive. There are just enough refreshing new-ish elements to make this a certain step-forward from 2006's "Supremacy," and a standout in Hatebreed's discography. Plus, if nothing else, it is enough to prevent the band from becoming stale for a few more years.

Most of the songs, though, are a different story - much different. Most of them actually have more in common with thrash and groove metal than anything else. Thus, they usually more-closely resemble the halcyon days of Slayer, Pantera, Obituary, Machine Head, Kreator, and Anthrax than those of, say, Black Flag, Cro-Mags, Madball, and Sick Of It All. "Chaos A.D."-era Sepultura, Terror's "Always The Hard Way," and latter-day Ringworm (i.e. think "Justice Replaced By Revenge" and later) frequently come to mind, too. "Every Lasting Scar," "As Deranged As Me," "Pollution Of The Soul" and the especially-breakneck "Hands Of A Dying Man are but a handful of songs that well-illustrate this relentless attack of modern thrash. Aside from maybe "Every Lasting Scar," a Prong-style industrial-strength chugger, all of these rip-roaring speedsters are blazing fast and stuffed full of great, scorching, Slayer-esque riffing, deft, thundering drums, visceral vocals, and occasional thrashy solos. Moreover, cuts like the big-chorus'd early standout "In Ashes They Shall Reap" (which could be a Corrosion Of Conformity or D.R.I.-b-side), "Merciless Tide" (which tucks in a couple surprisingly good and ripping guitar solos), and the terrifically Slayer-iffic continue in this vein, thus further upping the intensity level.

"Through The Thorns", and the powerful opener that is "Become The Pulse" will both satisfy any fan when they get a hankering for the heavy stuff. In addition, the latter two listed in this bunch are of particular note, and both among the whole set's biggest standouts. Pantera, Lamb Of God, The Haunted, Overkill, Motorhead, and early Metallica are clear inspirations behind "Become The Pulse"'s smoking thrash speeds and blistering interplay. But even if it is a satiating riff-fest with guitars that race by with blood-pumping buzzsaw insistence; the main highlight behind this inexorable sprint is Jamey's commanding and memorable vocals - including full-bodied screams, catchy vocal hooks, huge choruses, potent refrains, and (most importantly) brutal, Barney Greenway-lite amelodic hardcore barks and bellows. Plus, "Through The Thorns" features an adherently rhythmic, deep, and rambunctious groove that recalls many-a-great Pantera classic. The guitars grind away like "Dimebag" Darrel/Acid Bath while the drums concoct driving thrash beats and thunderous rhythms. It is also easy to dig Jamey's catchy, classic hardcore call-and-response vocals, too. (Hence, on than note, "Through The Thorns", in a lot of ways, recalls "Becoming The Pulse," because, at least from a vocal standpoint, they are both sure to tickle the fancy of every hardcore purist's fancy.) And I have to mention this -- there is a part in "Thorns" where all of the other instruments -- except the bass -- drop off, leaving the four-stringer alone to play a hidden, but still effective and noteworthy mini-bass solo.

Rounding out the set is one last batch of songs - only these are about as close to pure hardcore as you're gonna get. The vast majority of "Not My Master" -- and its catchy, Anthrax/Biohazard-ish gang shouts and memorable vocal patterns -- would make any N.Y.C.H. originators proud. Next, The aforementioned slow, restrained beginning not withstanding, "Between Hell...", with its meaty chug and churn riffs intertwined with forceful double-kick slamming, takes a page out of the Fear Factory playbook (although Hatebreed still adhere to the almighty hard/moshcore chug and breakdown most of the time). Finally, we get the power-violence-worthy "Everyone Bleeds Now," which despite having careening Eighties thrash guitar interplay and a fiery, Slayer-iffic solo, is not unlike the aforementioned "Become The Pulse" in that raging, visceral, foundation-shaking vocals (including a nasty little a capella part); "No Halos For The Heartless" an adherently Meshuggah/The Acacia Strain-reminiscent mosher with rubbery, lock-step unison guitars, booming rhythms, hooky gang shouts, and slamdanceable breakdowns; and the closing "Escape" (a competent Metallica cover that might as well be from the 2009 covers album, "For The Lions"). These three tracks are very heavy, straightforward, fairly simplistic, and stripped of all excess fat, trimmings, and speed metal tendencies. In brief, they all really to flesh-out the band's raw and abrasive roots in hardcore, and are sure to please all-but the genre's absolute most insatiable purists.