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The album as a whole:
I really like it, mostly. It's in a different realm than Rareform or FOAFS. However, I take it that they were 'in rareform' when they wrote that album because it showed off some excellent songwriting ability and distinctness that they could bring to the table. However, with this release, that is almost completely gone in favor of a slightly more generic songwriting approach, still with their attitude as a band. The production is far beyond their first release, FOAFS, and differs pleasantly from Rareform enough to make it refreshing. In a way though, it remains to be seen if this is their cue to try and hop into the 'djent' bandwagon (which I see as being already far too overloaded before it began) or if it's some kind of transitional period as they grow with their new front man (and introduction of clean singing, which, for the record, I do enjoy when used well.) The solo work as always, is excellent throughout, though there is much less of the crazy melodic-oriented song passages ATB fans have come to know and love.
The first track kicks off to a great start but reveals some of the awkward song transitions later to come throughout the album... Your Troubles is one of the better examples of their ability to write in a way that gets you hooked and in the moment, especially live. Pendulum is different, because it's the first of several that introduces clean singing to their repertoire. I really, really love how it's used in this track... but... it sounds absolutely more and more terrible as the album goes on, especially in track 7 of 8, Promises Kept.Read more ›
The album gets underway with "My Frailty," a surprisingly math-y, Dillinger Escape Plan/Psyopus-style freak out with tech-y riffing, catchy, staccato hooks, stop-start blast beats, and technical, crunching bass lines. A surprisingly lengthy and sweeping melodic guitar solo finds its way into the mix, here, as well. Then, following "Your Troubles Will Cease And Fortune Will Shine Upon You," an oh-so-Meshuggah-esque cut with crunchy, punching, downtuned staccato riffing, the album adopts its first monotony changer by slipping in a brief acoustic interlude in the intro to "Pendulum." The number then abruptly switches to a thunderous, foundation-shaking main riff, busy, pounding skins, brutal, screamed vocals, and some Necrophagist-like melodic guitar sweeps. And melody again enters the fray later on when "Pendulum" traffics in a nice clean backing vocal line amidst all of the usual Fear Factory-like, double-kick-drum-backed chugging riffs and brutal, raging vocals.
"Bread Crumbs & White Stones" is one especially breakdown-happy number that piles one big, bruising, gut-punching (and totally slam-danceable) hardcore breakdown on top of another before ending with another Meshuggah-ish, crunchy, chugging guitar lick.Read more ›
Most Recent Customer Reviews
This album is amazing for both metalcore and more ambient tracks. Pendulum and To Carry You Away are my definite favorite tracks on this disc.Published 15 days ago by C. K. Wallace
This album was alright. I'd recommend you check it out at least once. I know it won't be some people's cup of tea, but the more you listen to it, the better it is.Published 17 months ago by Spikedskull
Had no idea who they were, saw them live, the rest is history. Had to buy this album. Just amazing. Woo!!!Published 19 months ago by Andy
I don't understand the negative reviews out on the web. This is a very strong album and, as you get older (40ish) you'll start to appreciate more melodic metalcore. Read morePublished on December 17, 2013 by beefchips
After the Burial are one of the key deathcore bands on Sumerian Records (see: Periphery, Born of Osiris). Read morePublished on August 19, 2013 by Cam
This is the first After the Burial album that I am listening to. So without prejudice I can rate it as excellent. Read morePublished on March 15, 2013 by James N
While, in my opinion, not their most complex guitar work(Rareform has that trophy), the innovation and creativity that is put into this disk is mind blowing. Read morePublished on February 3, 2013 by T. Mahler