Review by Vladimir on September 28, 2023.

"Death is all we can know, Finality of what we've sown, The aeons pass, all hope denied, To the darkness joined with starless skies, Death is all we can know, As time goes on, complacence grows, In servitude we waste away, As if these things matter, as if anything lasts". These lyrics with such strength of words were wonderfully cemented in a very unusual work of art that will be the topic of this review. The topic I’ll be covering here is a US black metal band Woe and their third album Withdrawal, released on April 22nd, 2013 via Candlelight Records. 

The music of Woe is a different kind of black metal, which combines elements of modern hardcore with that of traditional black metal. What you get is your standard tremolo picking, blast beats or double-bass drumming, but the vocals opt for a completely different approach which is more shouting singing that leans towards a more hardcore punk or metalized hardcore style, rather than your standard harsh black metal vocals. Aside from this frequent vocal style, there are also moments when the vocals would switch to guttural growls, best example being the third track “All Bridges Burned”, which are also backed up by the traditionally used shouting vocals. There are also moments when the drumming leans more towards that hardcore/metalcore side with the inclusion of breakdowns, which is evident in the first track “This Is the End of the Story“, where the dynamics of the drums flow flawlessly from one part to another. The band also throws in a bit of rock ‘n roll on the fifth track “Song of My Undoing”, with an incredibly catchy mid-tempo riffing and drumming during the song’s verse, while also providing some clean singing vocals during the slower section. The aforementioned hardcore elements in the band’s music are present on the sixth track “Exhausted”, where it’s aggressively banging d-beat once the song starts. The songwriting is very well-thought and excellently put together, providing so much to hear that you can barely concentrate on what is going on. Withdrawal is definitely a very unique black metal album and also a unique album in general. There aren’t that many modern black metal bands of this sort that create such a specific output, and you can tell that the band was trying their best with this one and their effort certainly didn’t go to waste. The nature of the album gives a very misanthropic feeling, while also showing the more difficult and existential side filled with isolation and personal frustration. This album definitely has a strong psychological side, because there are so many sincere emotions in every song that can certainly take away your focus on the music and just let yourself be immersed. The album’s title perfectly summarizes the entire experience, a feeling of absolute withdrawal that just doesn’t let go from start to finish. The album’s production has a very heavy and bone crushing sound, while also creating a powerful aura around the vocals and the overall instrumental work. 

Although I would usually be very skeptical when it comes to modern black metal releases and perhaps end up regretting everything for wasting my time, Withdrawal is not that kind of example. I think that this is perhaps one of the most interesting modern day black metal releases, that shows how much the band Woe were able to put all their care and effort without trying too hard to distinguish themselves from the overall majority or attempt to please a certain audience by showing off with their musicality. Withdrawal proved to be a worthy listening experience and I think that people should give this one a go, especially if they are fans of newer generation US black metal. 

Rating: 8.6 out of 10

Review by JD on May 25, 2013.

I remember bands/artists like Bathory and Venom – these were the bands that defined what it was to be Black Metal, and how it is done. I love the newer BM as well, from Norway and even the USBM as well who are reshaping this whole darksome genre. Philadelphia based Woe are one of the newer of the US Black Metal scene that are trying to rewrite the very nature of what it is to be BM.

Started as just a one man project, Woe has come to morph into a full-fledged band that is bending all of the rules. Combining Modern BM, Post Punk with Ambient style and includes some very brutal yet grinding Crust. It comes out as something that is a wall of sheer darkness and hate with the force of a speeding jet aircraft. Musical is not the thought I had in mind while I listened to this album, it was not what I wanted.

The whole album is chaotic at best, where thundering guitars and drums are at the forefront and that never let the music flow and only a sheer wall of heavy comes at you. There are some bright spots like the brilliant 'All Bridges Burned', where the amazing acoustic intro leads into a heavy vortex of utter darkness and faith stealing evil, but for the most part the songs seem to sound the same with little to separate them.

This is not my beloved BM in any way, as I need a dose of separation and melody in the way it is recorded and played – even if it is just a little – in my Black Metal music. Woe is easily explained as sounding like screeching cat caught in a blender with a white noise generator accompanying it, which is sad because the one lone song intro seemed to show there was some redeeming talent. Satan would not be pleased.

I am not even close to liking this album. Venom would just want to kick the shit out of these (clears throat to keep from puking) musicians.

Categorical Rating Breakdown

Musicianship: 3 (for the possibility of talent)
Atmosphere: 0
Production: 0
Originality: 0
Overall: 1

Rating: 0.8 out of 10

Review by Vladimir on September 28, 2023.

"Death is all we can know, Finality of what we've sown, The aeons pass, all hope denied, To the darkness joined with starless skies, Death is all we can know, As time goes on, complacence grows, In servitude we waste away, As if these things matter, as if anything lasts". These lyrics with such strength of words were wonderfully cemented in a very unusual work of art that will be the topic of this review. The topic I’ll be covering here is a US black metal band Woe and their third album Withdrawal, released on April 22nd, 2013 via Candlelight Records. 

The music of Woe is a different kind of black metal, which combines elements of modern hardcore with that of traditional black metal. What you get is your standard tremolo picking, blast beats or double-bass drumming, but the vocals opt for a completely different approach which is more shouting singing that leans towards a more hardcore punk or metalized hardcore style, rather than your standard harsh black metal vocals. Aside from this frequent vocal style, there are also moments when the vocals would switch to guttural growls, best example being the third track “All Bridges Burned”, which are also backed up by the traditionally used shouting vocals. There are also moments when the drumming leans more towards that hardcore/metalcore side with the inclusion of breakdowns, which is evident in the first track “This Is the End of the Story“, where the dynamics of the drums flow flawlessly from one part to another. The band also throws in a bit of rock ‘n roll on the fifth track “Song of My Undoing”, with an incredibly catchy mid-tempo riffing and drumming during the song’s verse, while also providing some clean singing vocals during the slower section. The aforementioned hardcore elements in the band’s music are present on the sixth track “Exhausted”, where it’s aggressively banging d-beat once the song starts. The songwriting is very well-thought and excellently put together, providing so much to hear that you can barely concentrate on what is going on. Withdrawal is definitely a very unique black metal album and also a unique album in general. There aren’t that many modern black metal bands of this sort that create such a specific output, and you can tell that the band was trying their best with this one and their effort certainly didn’t go to waste. The nature of the album gives a very misanthropic feeling, while also showing the more difficult and existential side filled with isolation and personal frustration. This album definitely has a strong psychological side, because there are so many sincere emotions in every song that can certainly take away your focus on the music and just let yourself be immersed. The album’s title perfectly summarizes the entire experience, a feeling of absolute withdrawal that just doesn’t let go from start to finish. The album’s production has a very heavy and bone crushing sound, while also creating a powerful aura around the vocals and the overall instrumental work. 

Although I would usually be very skeptical when it comes to modern black metal releases and perhaps end up regretting everything for wasting my time, Withdrawal is not that kind of example. I think that this is perhaps one of the most interesting modern day black metal releases, that shows how much the band Woe were able to put all their care and effort without trying too hard to distinguish themselves from the overall majority or attempt to please a certain audience by showing off with their musicality. Withdrawal proved to be a worthy listening experience and I think that people should give this one a go, especially if they are fans of newer generation US black metal. 

Rating: 8.6 out of 10

Review by JD on May 25, 2013.

I remember bands/artists like Bathory and Venom – these were the bands that defined what it was to be Black Metal, and how it is done. I love the newer BM as well, from Norway and even the USBM as well who are reshaping this whole darksome genre. Philadelphia based Woe are one of the newer of the US Black Metal scene that are trying to rewrite the very nature of what it is to be BM.

Started as just a one man project, Woe has come to morph into a full-fledged band that is bending all of the rules. Combining Modern BM, Post Punk with Ambient style and includes some very brutal yet grinding Crust. It comes out as something that is a wall of sheer darkness and hate with the force of a speeding jet aircraft. Musical is not the thought I had in mind while I listened to this album, it was not what I wanted.

The whole album is chaotic at best, where thundering guitars and drums are at the forefront and that never let the music flow and only a sheer wall of heavy comes at you. There are some bright spots like the brilliant 'All Bridges Burned', where the amazing acoustic intro leads into a heavy vortex of utter darkness and faith stealing evil, but for the most part the songs seem to sound the same with little to separate them.

This is not my beloved BM in any way, as I need a dose of separation and melody in the way it is recorded and played – even if it is just a little – in my Black Metal music. Woe is easily explained as sounding like screeching cat caught in a blender with a white noise generator accompanying it, which is sad because the one lone song intro seemed to show there was some redeeming talent. Satan would not be pleased.

I am not even close to liking this album. Venom would just want to kick the shit out of these (clears throat to keep from puking) musicians.

Categorical Rating Breakdown

Musicianship: 3 (for the possibility of talent)
Atmosphere: 0
Production: 0
Originality: 0
Overall: 1

Rating: 0.8 out of 10

Review by Vladimir on September 28, 2023.

"Death is all we can know, Finality of what we've sown, The aeons pass, all hope denied, To the darkness joined with starless skies, Death is all we can know, As time goes on, complacence grows, In servitude we waste away, As if these things matter, as if anything lasts". These lyrics with such strength of words were wonderfully cemented in a very unusual work of art that will be the topic of this review. The topic I’ll be covering here is a US black metal band Woe and their third album Withdrawal, released on April 22nd, 2013 via Candlelight Records. 

The music of Woe is a different kind of black metal, which combines elements of modern hardcore with that of traditional black metal. What you get is your standard tremolo picking, blast beats or double-bass drumming, but the vocals opt for a completely different approach which is more shouting singing that leans towards a more hardcore punk or metalized hardcore style, rather than your standard harsh black metal vocals. Aside from this frequent vocal style, there are also moments when the vocals would switch to guttural growls, best example being the third track “All Bridges Burned”, which are also backed up by the traditionally used shouting vocals. There are also moments when the drumming leans more towards that hardcore/metalcore side with the inclusion of breakdowns, which is evident in the first track “This Is the End of the Story“, where the dynamics of the drums flow flawlessly from one part to another. The band also throws in a bit of rock ‘n roll on the fifth track “Song of My Undoing”, with an incredibly catchy mid-tempo riffing and drumming during the song’s verse, while also providing some clean singing vocals during the slower section. The aforementioned hardcore elements in the band’s music are present on the sixth track “Exhausted”, where it’s aggressively banging d-beat once the song starts. The songwriting is very well-thought and excellently put together, providing so much to hear that you can barely concentrate on what is going on. Withdrawal is definitely a very unique black metal album and also a unique album in general. There aren’t that many modern black metal bands of this sort that create such a specific output, and you can tell that the band was trying their best with this one and their effort certainly didn’t go to waste. The nature of the album gives a very misanthropic feeling, while also showing the more difficult and existential side filled with isolation and personal frustration. This album definitely has a strong psychological side, because there are so many sincere emotions in every song that can certainly take away your focus on the music and just let yourself be immersed. The album’s title perfectly summarizes the entire experience, a feeling of absolute withdrawal that just doesn’t let go from start to finish. The album’s production has a very heavy and bone crushing sound, while also creating a powerful aura around the vocals and the overall instrumental work. 

Although I would usually be very skeptical when it comes to modern black metal releases and perhaps end up regretting everything for wasting my time, Withdrawal is not that kind of example. I think that this is perhaps one of the most interesting modern day black metal releases, that shows how much the band Woe were able to put all their care and effort without trying too hard to distinguish themselves from the overall majority or attempt to please a certain audience by showing off with their musicality. Withdrawal proved to be a worthy listening experience and I think that people should give this one a go, especially if they are fans of newer generation US black metal. 

Rating: 8.6 out of 10

Review by JD on May 25, 2013.

I remember bands/artists like Bathory and Venom – these were the bands that defined what it was to be Black Metal, and how it is done. I love the newer BM as well, from Norway and even the USBM as well who are reshaping this whole darksome genre. Philadelphia based Woe are one of the newer of the US Black Metal scene that are trying to rewrite the very nature of what it is to be BM.

Started as just a one man project, Woe has come to morph into a full-fledged band that is bending all of the rules. Combining Modern BM, Post Punk with Ambient style and includes some very brutal yet grinding Crust. It comes out as something that is a wall of sheer darkness and hate with the force of a speeding jet aircraft. Musical is not the thought I had in mind while I listened to this album, it was not what I wanted.

The whole album is chaotic at best, where thundering guitars and drums are at the forefront and that never let the music flow and only a sheer wall of heavy comes at you. There are some bright spots like the brilliant 'All Bridges Burned', where the amazing acoustic intro leads into a heavy vortex of utter darkness and faith stealing evil, but for the most part the songs seem to sound the same with little to separate them.

This is not my beloved BM in any way, as I need a dose of separation and melody in the way it is recorded and played – even if it is just a little – in my Black Metal music. Woe is easily explained as sounding like screeching cat caught in a blender with a white noise generator accompanying it, which is sad because the one lone song intro seemed to show there was some redeeming talent. Satan would not be pleased.

I am not even close to liking this album. Venom would just want to kick the shit out of these (clears throat to keep from puking) musicians.

Categorical Rating Breakdown

Musicianship: 3 (for the possibility of talent)
Atmosphere: 0
Production: 0
Originality: 0
Overall: 1

Rating: 0.8 out of 10

Review by Vladimir on September 28, 2023.

"Death is all we can know, Finality of what we've sown, The aeons pass, all hope denied, To the darkness joined with starless skies, Death is all we can know, As time goes on, complacence grows, In servitude we waste away, As if these things matter, as if anything lasts". These lyrics with such strength of words were wonderfully cemented in a very unusual work of art that will be the topic of this review. The topic I’ll be covering here is a US black metal band Woe and their third album Withdrawal, released on April 22nd, 2013 via Candlelight Records. 

The music of Woe is a different kind of black metal, which combines elements of modern hardcore with that of traditional black metal. What you get is your standard tremolo picking, blast beats or double-bass drumming, but the vocals opt for a completely different approach which is more shouting singing that leans towards a more hardcore punk or metalized hardcore style, rather than your standard harsh black metal vocals. Aside from this frequent vocal style, there are also moments when the vocals would switch to guttural growls, best example being the third track “All Bridges Burned”, which are also backed up by the traditionally used shouting vocals. There are also moments when the drumming leans more towards that hardcore/metalcore side with the inclusion of breakdowns, which is evident in the first track “This Is the End of the Story“, where the dynamics of the drums flow flawlessly from one part to another. The band also throws in a bit of rock ‘n roll on the fifth track “Song of My Undoing”, with an incredibly catchy mid-tempo riffing and drumming during the song’s verse, while also providing some clean singing vocals during the slower section. The aforementioned hardcore elements in the band’s music are present on the sixth track “Exhausted”, where it’s aggressively banging d-beat once the song starts. The songwriting is very well-thought and excellently put together, providing so much to hear that you can barely concentrate on what is going on. Withdrawal is definitely a very unique black metal album and also a unique album in general. There aren’t that many modern black metal bands of this sort that create such a specific output, and you can tell that the band was trying their best with this one and their effort certainly didn’t go to waste. The nature of the album gives a very misanthropic feeling, while also showing the more difficult and existential side filled with isolation and personal frustration. This album definitely has a strong psychological side, because there are so many sincere emotions in every song that can certainly take away your focus on the music and just let yourself be immersed. The album’s title perfectly summarizes the entire experience, a feeling of absolute withdrawal that just doesn’t let go from start to finish. The album’s production has a very heavy and bone crushing sound, while also creating a powerful aura around the vocals and the overall instrumental work. 

Although I would usually be very skeptical when it comes to modern black metal releases and perhaps end up regretting everything for wasting my time, Withdrawal is not that kind of example. I think that this is perhaps one of the most interesting modern day black metal releases, that shows how much the band Woe were able to put all their care and effort without trying too hard to distinguish themselves from the overall majority or attempt to please a certain audience by showing off with their musicality. Withdrawal proved to be a worthy listening experience and I think that people should give this one a go, especially if they are fans of newer generation US black metal. 

Rating: 8.6 out of 10

Review by Vladimir on September 28, 2023.

"Death is all we can know, Finality of what we've sown, The aeons pass, all hope denied, To the darkness joined with starless skies, Death is all we can know, As time goes on, complacence grows, In servitude we waste away, As if these things matter, as if anything lasts". These lyrics with such strength of words were wonderfully cemented in a very unusual work of art that will be the topic of this review. The topic I’ll be covering here is a US black metal band Woe and their third album Withdrawal, released on April 22nd, 2013 via Candlelight Records. 

The music of Woe is a different kind of black metal, which combines elements of modern hardcore with that of traditional black metal. What you get is your standard tremolo picking, blast beats or double-bass drumming, but the vocals opt for a completely different approach which is more shouting singing that leans towards a more hardcore punk or metalized hardcore style, rather than your standard harsh black metal vocals. Aside from this frequent vocal style, there are also moments when the vocals would switch to guttural growls, best example being the third track “All Bridges Burned”, which are also backed up by the traditionally used shouting vocals. There are also moments when the drumming leans more towards that hardcore/metalcore side with the inclusion of breakdowns, which is evident in the first track “This Is the End of the Story“, where the dynamics of the drums flow flawlessly from one part to another. The band also throws in a bit of rock ‘n roll on the fifth track “Song of My Undoing”, with an incredibly catchy mid-tempo riffing and drumming during the song’s verse, while also providing some clean singing vocals during the slower section. The aforementioned hardcore elements in the band’s music are present on the sixth track “Exhausted”, where it’s aggressively banging d-beat once the song starts. The songwriting is very well-thought and excellently put together, providing so much to hear that you can barely concentrate on what is going on. Withdrawal is definitely a very unique black metal album and also a unique album in general. There aren’t that many modern black metal bands of this sort that create such a specific output, and you can tell that the band was trying their best with this one and their effort certainly didn’t go to waste. The nature of the album gives a very misanthropic feeling, while also showing the more difficult and existential side filled with isolation and personal frustration. This album definitely has a strong psychological side, because there are so many sincere emotions in every song that can certainly take away your focus on the music and just let yourself be immersed. The album’s title perfectly summarizes the entire experience, a feeling of absolute withdrawal that just doesn’t let go from start to finish. The album’s production has a very heavy and bone crushing sound, while also creating a powerful aura around the vocals and the overall instrumental work. 

Although I would usually be very skeptical when it comes to modern black metal releases and perhaps end up regretting everything for wasting my time, Withdrawal is not that kind of example. I think that this is perhaps one of the most interesting modern day black metal releases, that shows how much the band Woe were able to put all their care and effort without trying too hard to distinguish themselves from the overall majority or attempt to please a certain audience by showing off with their musicality. Withdrawal proved to be a worthy listening experience and I think that people should give this one a go, especially if they are fans of newer generation US black metal. 

Rating: 8.6 out of 10

Review by JD on May 25, 2013.

I remember bands/artists like Bathory and Venom – these were the bands that defined what it was to be Black Metal, and how it is done. I love the newer BM as well, from Norway and even the USBM as well who are reshaping this whole darksome genre. Philadelphia based Woe are one of the newer of the US Black Metal scene that are trying to rewrite the very nature of what it is to be BM.

Started as just a one man project, Woe has come to morph into a full-fledged band that is bending all of the rules. Combining Modern BM, Post Punk with Ambient style and includes some very brutal yet grinding Crust. It comes out as something that is a wall of sheer darkness and hate with the force of a speeding jet aircraft. Musical is not the thought I had in mind while I listened to this album, it was not what I wanted.

The whole album is chaotic at best, where thundering guitars and drums are at the forefront and that never let the music flow and only a sheer wall of heavy comes at you. There are some bright spots like the brilliant 'All Bridges Burned', where the amazing acoustic intro leads into a heavy vortex of utter darkness and faith stealing evil, but for the most part the songs seem to sound the same with little to separate them.

This is not my beloved BM in any way, as I need a dose of separation and melody in the way it is recorded and played – even if it is just a little – in my Black Metal music. Woe is easily explained as sounding like screeching cat caught in a blender with a white noise generator accompanying it, which is sad because the one lone song intro seemed to show there was some redeeming talent. Satan would not be pleased.

I am not even close to liking this album. Venom would just want to kick the shit out of these (clears throat to keep from puking) musicians.

Categorical Rating Breakdown

Musicianship: 3 (for the possibility of talent)
Atmosphere: 0
Production: 0
Originality: 0
Overall: 1

Rating: 0.8 out of 10

Review by JD on May 25, 2013.

I remember bands/artists like Bathory and Venom – these were the bands that defined what it was to be Black Metal, and how it is done. I love the newer BM as well, from Norway and even the USBM as well who are reshaping this whole darksome genre. Philadelphia based Woe are one of the newer of the US Black Metal scene that are trying to rewrite the very nature of what it is to be BM.

Started as just a one man project, Woe has come to morph into a full-fledged band that is bending all of the rules. Combining Modern BM, Post Punk with Ambient style and includes some very brutal yet grinding Crust. It comes out as something that is a wall of sheer darkness and hate with the force of a speeding jet aircraft. Musical is not the thought I had in mind while I listened to this album, it was not what I wanted.

The whole album is chaotic at best, where thundering guitars and drums are at the forefront and that never let the music flow and only a sheer wall of heavy comes at you. There are some bright spots like the brilliant 'All Bridges Burned', where the amazing acoustic intro leads into a heavy vortex of utter darkness and faith stealing evil, but for the most part the songs seem to sound the same with little to separate them.

This is not my beloved BM in any way, as I need a dose of separation and melody in the way it is recorded and played – even if it is just a little – in my Black Metal music. Woe is easily explained as sounding like screeching cat caught in a blender with a white noise generator accompanying it, which is sad because the one lone song intro seemed to show there was some redeeming talent. Satan would not be pleased.

I am not even close to liking this album. Venom would just want to kick the shit out of these (clears throat to keep from puking) musicians.

Categorical Rating Breakdown

Musicianship: 3 (for the possibility of talent)
Atmosphere: 0
Production: 0
Originality: 0
Overall: 1

Rating: 0.8 out of 10

Review by Felix on March 20, 2021.

Overkill have a good and a bad side. They've been around for so long that I cannot, with the best will in the world, ignore my own ageing process from the ever-growing number of their records. On the other hand, D.D. and Blitz are two real-life examples of the amazing fact that there are still people who are actually even older than me. Regardless of these rather biological aspects, the gentlemen have mostly released good albums. Bloodletting is, in my view, one of the better ones in their discography.

That is not to say that their contribution to the preservation of the music industry at the close of the 20th century is convincing in every respect. For example, 'Left Hand Man' remains completely faceless. In addition, the band members, as unfortunately more often in their career, become victims of their 50-minute dogma. The record could easily be five to ten minutes shorter. On the basis of 'What I'm Missin'', this theory can be proven. What I'm missing here (pun!) is simply a healthy amount of compactness and the realisation that not every idea which is buzzing through the room is useful for a song. Despite good parts, this number is a bit exhausting overall and if D.D. Verni didn't have this allergy to 3-minute killers, a better result would have been achieved here. The direct neighbour 'Death Comes Out to Play' also has a somewhat confused concept. Apparently, no matter what it takes, a grinding mid-tempo part has to be included, although its stop-and-go guitars are counterproductive to the rest of the track's flow. Still, Overkill presents a strong, rapid-fire number here. It, like all the other songs of course, draws benefit from the very profound, heavy-as-a-barrel production. From the first notes of the crunchy opener 'Thunderhead', the listener is overrun by an acoustic tank that leaves little but shredded flesh and crushed bones.

Of course, Bloodletting is a child of its time and spirit. Some then-modern aberrations influence the riffing, and this is rarely to the advantage of the compositions. Original smash hits like 'Rotten To The Core', 'Hammerhead' or 'Deny the Cross' are searched for in vain. Instead, the team around D.D. takes the one or other turn too much, and some "special effects", such as the idiotic "you gonna die" voice in 'I, Hurricane' go down the drain. But Overkill are fighters. The quintet always finds its way back to the right path and almost every song has more sunshine than shadow.

The solid 'Can't Kill A Dead Man' (what a new insight) ends an album that delivers good home cooking, but at the same time, like many of the formation's works, stands in the shadow of their own monuments like Feel The Fire or Horrorscope. All the players are in good form; Blitz as always a bit very nasal, but at the same time also nicely vile, the guitarists with appealing solos and the rhythm section without fault. Only the beauty of simplicity - does anyone still remember 'Blood And Iron' - is missing. But who knows, maybe the title of the record refers exactly to this circumstance, the bloodletting of simplicity. That would be fitting.

Rating: 7.2 out of 10

Review by Fran on March 20, 2021.

Necroshine was intended to be an interstellar return to the heavy metal roots for Overkill but not in their classic speed metal outfit, they were still trying to make a proper groove/thrash record with balls. For Bloodletting they made a personnel change but the concept remained the same, and even if they haven’t achieved it yet I think it was the right decision. In this album the guitarist is Dave Linsk, who is very technical like Bobby Gustafson but has a less orthodox style, closer to the street punk image of the band. While the drummer is still Tim Mallare since 1992, for this record they tied up the rhythmic palm muted riffs with the bass and the bass drums a little bit more, so they gained more rhythmic variety and avoided the linear double bass sections to give the modern thrash touch, lots of bass and surround effect without losing the heaviness. I think that’s exactly where they started to build the “good” groove/thrash formula, regaining weight and variety in textures on the low end.

DD Verni is a great songwriter too but he can't write a whole album on its own, there’s a meaner and more intelligent riffing on this record, more guitar oriented due to Linsk’s influence. That’s why this record is a little bit more imaginative and creative than their previous one, even if it’s conceptually the same. The fact that he is such a gifted guitar player also helps to broaden composition possibilities like the return of the twin melodic leads alla Iron Maiden that were common on the early days with Mr. Bobby Gustafson, this is the first time Overkill actually has a guitar player that can play as well as him. The intro of 'Left Hand Man' is ballad like and also shows nice arpeggio skills from Mr. Linsk’s. The next song, 'Blown Away' is super heavy, slow and menacing like 'Who Tends The Fire' of Skullcrusher; I didn’t see that coming. 'My Name Is Pain' is a double bass drum fast number, Taking Over style.

Those pleasing surprises at the end of the record make it even stronger but overall it’s a groove/thrash album. They left a few hints of what was coming next though, but the record is actually pretty enjoyable on its own even if it's not their best. The production is even rawer than on Necroshine, which I consider another plus and in general the songs are heavier and darker.

Rating: 7.1 out of 10

Review by Adam M on March 22, 2016.

Periphery’s take on djent is a wonder to behold. It combines the hardcore sections with gleaming clean sections in a seamless manner. The vocalist who juxtaposes these styles takes some getting used to, but once you do, the music on this double disc is incredibly memorable. The transition from a more metalcore band to the current version that portrays clean sections in such a fine fashion is a huge one and Periphery needs to be credited for it.

Once you let the music sink in for a while, the melodies become clearer and this album becomes a monster of a listen. There are moments on this disc that are very catchy such as the chorus in the title track Alpha. The moments will be replaying in your mind over and over again. This album is perhaps the one from last year that I most remember portions of songs and hear them replaying in my head. There is certainly some complexity to these songs, but the band never drifts into over-indulgence at any point. The songs are nicely balanced and never over-emphasize the harsher or cleaner sections too much. This leads to an album that is versatile and always fits the proper mood or moment. There really is just as much dynamics as what you could expect from a classic Opeth album here. The finished product ends up being both pleasing and enduring and hard-wires itself to your veins.

You’ll want to dig back into the discography of this band to uncover more gems, but I believe this is the band’s masterwork. It makes use of modernity in a cool way that is totally original and unforgettable. Juggernaut: Alpha and Omega is easily one of the best albums of the year 2015 and something you need to hear. Make room for Periphery in your disc catalog.

Rating: 9 out of 10