The dry description suggesting “deathcore” does not prelude a technical feast. This is the third album release from this Belgian band, who prove they are not frightened to mix their styles.
Some tracks are more aligned to death metal than others. Where the title track and the later “The Generation Chasm” are deathcore with complex and modern technical patterns, the opener “Resurrection” is straighter in approach but with a more hardcore element. “The Generation Chasm” provides a good example of the way that Crimson Falls mix things about. Unlike any of the others, it has an epic clean vocal chorus and a prog style. It works well. Although “Resurrection” is more in the vein of pure death metal, there’s plenty going on to add interest. There’s a deep underlying rhythm, it’s brutal, aggressive and even melodic. After a nice creepy break – “what the fuck did you expect”, whispers the vocalist enigmatically – there’s a gang chorus. Steady and uncompromising, there’s even a blackened element to this. “Resurrection” is an impressive opening track. The only track that’s like it is “Stillborn”, which is intense and murderous but also djenty. Technical twists and turns are part of the structure of this track and “Trapped”, which is another one with a hardcore element. Possibly the track with the most impressive blend of metal structures is “Vengeance is Mine”. Another technically driven piece of brutal death metal, the mayhem blends into an epic passage. Whispering mingles with hardcore vocals and again there’s a suggestion of djent, resulting in a mobile mixture of styles.
This album also features a number of samples. Some are more effective than others, I’d suggest. “How Much Does Life Weigh?” is a creepy cinematic type track, in which the use of sound effects is handled well. Death metal structures make way briefly for atmospheres. It reminded me a little of the style of Heights and their “Hertfordshire Hardcore”. The most bizarre track for me is “Culture of Cancellations”. It sounds like trip-hop or something, but with buzzing waves and a jazz-like guitar style at one point. “Pisses me off …” whispers the vocalist, as a nightmarish piece of rap / hip hop is launched. It’s disturbing. I’m not sure where it came from but it leads into a hardcore section and an electronic sound wave. I wasn’t so convinced by “Culture of Cancellations”, although full marks are due for imagination. The quirky track I liked more was “Le Coup de Grâce”. Barring the pile-driving and catchy bonus track “Show Me Your Hands that Strangled My Child”, this brings the album to an end. Newsreader relate in French about civil disorder and hostage-taking in Belgian post offices and banks. The drama develops. The heaviness intensifies. Another technical death metal rant ensues. It’s thunderous but there’s always a sinister aspect to this innovative and imaginative track. One thing I liked was that in the sleeve notes, each track is accompanied with a detailed explanation. “Le Coup de Grâce” is defined as “Downpour of Disapproval on Senseless Violence”. Interestingly, “Culture of Cancellations” is cast as “Downpour of Disapproval on a Metal/Hardcore Scene that Doesn’t Care”, referring to bands and promoters who cancel shows and let down spectators.
This is an interesting album, mixing death metal and more, and featuring numerous guest artists. In the harsh moments, it reminded me musically of Polish death metal. “Downpour of Disapproval” has great technical qualities but I found it could be mystifyingly complex and even unfathomable in its deviations. At the same time I cannot fault it for intensity or imagination. I like it.
(7.5/10 Andrew Doherty)
Leave a Reply