January, 2006
Blabbermouth.net
More often than not a band's claims of its new album being both heavier and more melodic than a highly regarded predecessor equates to nothing more than a steaming pile of donkey dung. In the case of BLEEDING THROUGH's "The Truth", the claim is basically truthful. One could argue whether it is heavier than "This is Love, This is Murderous", but it is easily just as heavy, the blazing speed, and hardcore-laced thrash blasting convincing and powerful. Greater use of melodic clean vocals on several tracks should make no one think that this is just another metalcore growl 'n' croon release. On the contrary, the band masterfully incorporates a higher degree of melody, as well as increased use of Marta's elegant and chilling keyboards, into the unquestionably brutal arrangements (with two exceptions that I'll point out shortly). "For Love and Failing" sets the album's mood with a bludgeoning attack and a damn catchy chorus. One can tell immediately that Rob Caggiano's (ANTHRAX) production is a smashing success, as the riffs are full of chunk and the rhythms full of thud. The entire affair feels more focused than "This is Love, This is Murderous", itself an impressive effort. "Love in Slow Motion", "Kill to Believe", and "Return to Sender" are all keepers, the group skillfully striking the balance between memorable songwriting and crushing heaviness. "Dearly Demented" is certainly a standout track, one that boasts the same deft mix of elements, the endearingly creepy vocal performance from Nick 13 (TIGER ARMY) on the chorus done exceptionally well. "Confession", "The Painkiller", "Hollywood Prison", "Tragedy of Empty Streets", and the minute-and-a-half "She's Gone" dispense with the clean vocals altogether and simply attack mercilessly. A gothy ballad called "Line in the Sand" is well written and fits comfortably amidst the heavier fare (it even includes a brief guitar solo), while the album-closing instrumental title track is haunting and lush, an appropriate way to come down from the adrenaline rush. Don't make the mistake of focusing on image and casting BLEEDING THROUGH into the metalcore and eyeliner scrap heap. Doing so might cause you to miss out on a crushingly heavy and eminently memorable album that gets better with repeat listens. Well done.
Blabbermouth.net
More often than not a band's claims of its new album being both heavier and more melodic than a highly regarded predecessor equates to nothing more than a steaming pile of donkey dung. In the case of BLEEDING THROUGH's "The Truth", the claim is basically truthful. One could argue whether it is heavier than "This is Love, This is Murderous", but it is easily just as heavy, the blazing speed, and hardcore-laced thrash blasting convincing and powerful. Greater use of melodic clean vocals on several tracks should make no one think that this is just another metalcore growl 'n' croon release. On the contrary, the band masterfully incorporates a higher degree of melody, as well as increased use of Marta's elegant and chilling keyboards, into the unquestionably brutal arrangements (with two exceptions that I'll point out shortly). "For Love and Failing" sets the album's mood with a bludgeoning attack and a damn catchy chorus. One can tell immediately that Rob Caggiano's (ANTHRAX) production is a smashing success, as the riffs are full of chunk and the rhythms full of thud. The entire affair feels more focused than "This is Love, This is Murderous", itself an impressive effort. "Love in Slow Motion", "Kill to Believe", and "Return to Sender" are all keepers, the group skillfully striking the balance between memorable songwriting and crushing heaviness. "Dearly Demented" is certainly a standout track, one that boasts the same deft mix of elements, the endearingly creepy vocal performance from Nick 13 (TIGER ARMY) on the chorus done exceptionally well. "Confession", "The Painkiller", "Hollywood Prison", "Tragedy of Empty Streets", and the minute-and-a-half "She's Gone" dispense with the clean vocals altogether and simply attack mercilessly. A gothy ballad called "Line in the Sand" is well written and fits comfortably amidst the heavier fare (it even includes a brief guitar solo), while the album-closing instrumental title track is haunting and lush, an appropriate way to come down from the adrenaline rush. Don't make the mistake of focusing on image and casting BLEEDING THROUGH into the metalcore and eyeliner scrap heap. Doing so might cause you to miss out on a crushingly heavy and eminently memorable album that gets better with repeat listens. Well done.
