The gets underway with Unleashed, which builds up slowly from a melancholic clear guitar melody before a chugging riff kicks in with some melodic clean vocals from Leach accompanying it. Despite the album on a whole being on the heavier side of the spectrum, this opening number feels a little softer by contrast with Leach mostly singing clean and the song mostly moving along at a mid-paced chug. Many might have expected the album to open with more of a bang, but I think Unleashed works well as an opener. With much of the album operating at a faster pace, this opening chug and portions of moody clean guitar atmospherics acts as the calm before the storm. The riffs of guitarists Adam Dutkiewicz and Joel Stroetzel really lock together nicely, with the two teaming up constantly for fat rhythms while Leach croons atop with his rich tones. The Signal Fire which follows the opener however is a much different beast, with fast-paced riffing dominating the piece - and thrashy verses with Leach and the band's former frontman Howard Jones (Blood Has Been Shed; Killswitch Engage; Light the Torch) trading screamed sections with ease. I think many Killswitch Engage fans have wanted to hear Leach and Jones sing together for a while now, and The Signal Fire sees them both really going at it! The verses are really heavy, with lots of powerful screams - as well as some tight drumming from Justin Foley - while the chorus is packed full of soaring melodies, with the two singers harmonising really well. Killswitch Engage have always had a knack for writing strong choruses, and this is another great effort. The song is one of the album's highlights in my opinion, and I can see it becoming a live staple going forward. Us Against the World is more overtly melodic, with Dutkiewicz and Stroetzel teaming up throughout for some harmony guitar leads - right out of the Gothenberg scene sound - that really recall some of the band's earlier works. In many ways, the song is a classic metalcore number, with an aggressive verse paired up with a more melodic, accessible chorus. One thing I have noticed about this album is just how great Leach sounds throughout. He has always been a strong singer, but throughout this album he seems to sound better than ever. His clean vocals especially really shine, with the bursts of pure melody often a counterpoint to the heaviness around him. It is another potent track that stands out early on, but in truth most of the songs here do that. The Crownless King features another guest in the form of Chuck Billy (Testament; Dublin Death Patrol) who's barking thrash delivery works well with Leach's screams - with the two often teaming up to deliver a powerful, enhanced sound. Despite Billy's presence, this does not feel like a Testament song. It does however feel a little different than your average Killswitch Engage tune, although many of the hallmarks are still there. It is a heavy number, with no real clean vocals to speak of, but there is still plenty to latch onto - with a pulsing groove throughout and a strong chorus with a snaking, hypnotic guitar lead that dominates.
I am Broken Too is much more melodic, and is one of the most instantly-accessible songs here, with heavy weighting in the favour of clean vocals and a more laid back overall vibe. Laid back is of course relative, as there are still crunching guitar rhythms and punchy drums to be found, but they are balanced out with plenty of atmosphere. Killswitch Engage have always been great at creating light and shade in their songs, and this is a great example of a piece that delivers strong melodies while still having a murkiness to it. The chorus is one of the most instantly-memorable passages on the album, and Leach really pours a lot of emotion into his performance. The song seems to be a bit of rallying cry when it comes to mental health, something clearly close to Leach's heart, and that can really be felt through his vocal performance here. As Sure as the Sun Will Rise takes a heavier turn again, and is built around a fast-paced aggressive verse with some great old-school metalcore riffing and some of Leach's heaviest growls yet. There are moments in his delivery that almost veer into true death metal territory, and Foley's occasional blast beats only enhance that extreme metal feeling. If the song did not have such a soaring chorus, the song would not sound out of place on your average At the Gates album, but the moment Leach shifts to his clean delivery the song really opens out melodically. This is a great example of the light and shade described earlier, with the band really fitting a lot into a relatively short song. Know Your Enemy opens with marching drums and distant vocal shouts, before it explodes into another strong mid-paced piece with some Pantera-esque riffing at times which helps to create a strong groove - which is the perfect backing for Leach's screams. This is another piece that does not feature a lot of clean vocals, with Leach instead growling his way through the piece to great effect. While the piece is one of the more consistently heavy pieces here, there is still a plenty of melody to be found - although it is more subtle. There are lots of little guitar licks and leads that reveal themselves over repeated listens, although the twin guitar harmonies that suddenly roar out of the speakers towards the end are a more in-your-face moment of melody that are sure to connect with those who prefer the more-melodic end of the band's sound. Take Control once again slows down to more of a mid-pace, with chugging power chords and Leach's clean vocals dominating. Harsh vocals are mostly mixed into the background here, with the aggressiveness mostly coming from a semi-spoken word delivery that rears its head every so often, as well as the consistent and metronomic chug that is present throughout. It is not one of the album's best songs in my opinion however, as it lacks a big stand-out chorus. Songs of this nature in my opinion need a big anthemic moment, but Take Control does not have one sadly. It does have one of the few proper guitar solos on the album however, which is a nice surprise.
Ravenous gets the album back on track however, with melodic death metal vibes being channelled from the off and an overall heaviness that really suits the band. There is real weight to the song and I think one of the main reasons for this is the powerful bass presence of Mike D'Antonio. His playing throughout the album is usually just a part of the mix, and he rarely gets to shine, but some of the heavier riffs here really benefit from his additions. He makes an already heavy song much weightier, and it sounds great as a result. Despite the heaviness throughout, there is still room for a really anthemic chorus. It is one of the album's best in my opinion, and it shows off Leach's ability to craft really hooky vocal lines. For someone who relies heavily on harsh vocals, his ability to construct a chorus melody that really takes hold is impressive. It has always been one of the band's trademarks, and it is great to see that continued throughout this album. I Can't be the Only One is a heavy tune, but with less reliance on harsh vocals, which ensures the piece ends up sounding like a good old-school bit of metalcore. Harsh vocals are often mixed into the background to give certain sections of the song a bit of a boost, while the driving twisting riffs keep the energy levels high. There are faster, heavier songs here but there is still a certain energy that emanates here. It just goes to show that endless double bass drumming and screaming vocals are not the only thing the band need to be energetic, with this song have something else about it. There is another strong guitar solo here too, which shows the band can cut loose with the best of them when they want to, although it is something they rarely choose to do. Bite the Hand That Feeds is the album's closing number, and as a result it is the last chance for the band to hit the listener with their power. It is unsurprising then that the song is a fast, heavy number with lots of thrashy riffing, harsh vocals, and even examples of tremolo picking during the choruses which again creates a bit of an extreme metal vibe at times. I am not sure the Killswitch Engage of ten or so years ago could create a song this heavy, so it is great to see how the band has developed while still staying true to their core sound. Songs like this make it clear how much influence the melodic death metal scene has influenced the band's music, and justifies the opinion I have often have that sometimes Killswitch Engage and Soilwork share quite a few similarities in their sound. It ends the album on a really weighty note, and is a tune that is sure to please anyone who likes the heavier end of the band's output. Overall, Atonement is another strong album from Killswitch Engage that sees the band operating in a much tougher sphere than previously. There are still plenty of anthemic choruses here though and the band's core sound is intact, ensuring that the album fits nicely alongside their other releases while having a certain freshness to it that helps it to stand out.
The album was released on 16th August 2019 via Metal Blade Records. Below is the band's promotional video for The Signal Fire.
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