This is the second album by the American duo from Atlanta, Georgia that was formed in 2020… Well, Motivik was at any rate, they appear to have gone by the moniker Unorthodox between 1993 and 1998, with my favourite song on this album appearing to have come from that period too.
Courtney Simmons is the lead vocalist, while Ryan Roebuck takes care of pretty much everything else in the form of vocals/guitar/bass/keyboards, and they’ve brought in drummer Alex Emidio to perform on the album, which he does with sterling effort. There are also a couple guest vocalists and a lead solo or two done by others to add to the complexity of the arrangements.
The album opens with “Palace of Ashes”, where the guitars are layered over the piano and slowly building drums before the cracking inferno in the background drops into the flurry of manic drumming for “Dethroned”, that has a very Believer like feel to the vocal delivery and syncopation. Having grown up on ‘Sanity Obscure’, this is an excellent homage.
Title track “Renouncement” intensifies gradually as Betrayal’s Chris Ackermann lends his distinct tones to the vocals, while the thrash grooves just keep getting heavier.
“Break the Walls” has Jason Wisdom performing some magnificent death vocals that complement Courtney’s clean vocals by being the complete antithesis with their choppy rhythm and venomous delivery.
While it may start with a mild acoustic intro, “Septicemia” keeps getting faster and heavier and even Gene Hoglan should be impressed by Alex’s footwork on this very Testament sounding track. Even the lead is rather excellent.
Another song that just keeps getting heavier as it progresses is “This Man I Am”, even though it keeps breaking back down to slower and heavier passages, it just uses them to make the faster pieces more pronounced.
The blending of angry and melodic with both the guitars and vocals on “Harbinger of Demise” are captivating, as the vocals go from spat out at speed over grinding rhythms to splendidly sung with a soaring lead as accompaniment.
Slowing things right down for a haunting acoustic serenade, Courney’s vocals on “Final Hour” are superb as is Greg Minier’s lead that plays alongside them. The graphic description of the flogging and crucifixion have probably never been done so gently.
Original bassist from the 90’s Jason Weaver takes care of the lead vocals, which have a chanted hardcore cadence to go with the bass solo on “Lord of Death”.
The blisteringly quick “The Storm Within” has the drums and guitars going at full pelt until the vocals begin, then they rein themselves in before picking up speed again as they end, before mellowing out completely for a clean guitar interlude that’s broken by growls and a choppy rhythm.
Very Mekong Delta in its manic syncopation and fusion of aggressive thrash and classic elements, “The Head Collector” is really beautifully written.
I love the bass line on “Dead by Daylight” as Derek Corzine’s lead guitar pushes to the fore, as André Chiang’s low growls take the song to a different place altogether as the guitars fade out to piano and vocals before coming back in vigorously.
The album ends with a lovely mid-paced anthem “Once Again”, where the drums get heavier for the chorus but as that’s so catchy it still keeps you transfixed until the mesmerising lead completely captivates your attention, before fading out completely to a beautiful vocal and piano coda.
I enjoyed this album more and more with each listen and am actually going to go listen to their first album while I proofread this and send it on.
(8/10 Marco Gaminara)
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