Review by JD on January 2, 2011.

Change is always a good thing, when the band strives for their own voice in the world. Many fail and disappear from the musical landscape after basically shooting themselves in the foot. Few do end up making it, then there are only that rare couple that seem to be the masters of their own domains. Springfield, Massachusetts based Shadows Fall is one of those few bands that have changed and evolved, yet still kept their fan base in tact. A feat in itself.

They were a Death Metal force at first, but they have take the right path to where their music needed to go. People say there are now a speedier Metalcore or a bastardized form of Nu-Metal sort of flavouring. That is shit calling Shadows Fall any of this. I call what they do is a sort of Death-Thrash mix with some shading of even some old school mixed in for favouring - combined all together for maximum metal output.

Songs like the explosive ‘Stillness’ to the all encompassing brute force assault of ‘Those Who Cannot Speak’ show that the band has the complete trifecta necessary for a good band. Pure talent, overwhelming power and the total balls to do it in their own way and the fuck with anyone. With that, they truly are metallic superstars, and "The War Within" shows that point rather well.

You either like Shadows Fall or you do not. You cannot ignore the fact that they are one of the best in the business today. Any one of their releases can be considered to be impressive and this album really hits that point home. Watch out Metallica, Slayer and every other band out there right now - The Big Guns are in town, and will take you all down with ease. Good stuff!

Categorical Rating Breakdown

Musicianship: 9.5
Atmosphere: 10
Production: 9
Originality:9.5
Overall: 9.5

Rating: 9.5 out of 10

Review by Bryan on September 18, 2004.

Shadows Fall has re-written the book on American metal, penning chapters on riffage, solos, drumwork and singing. The War Within is, simply put, one of the best damn records to come out in years.

The War Within fuses metal together with hardcore undertones, the bands distinctive sound, like riding a rollercoaster upside down at breakneck speed without wearing any safety equipment. Not just a blatant scream-fest either, Brian Fair’s voice helps carry this album further; rough enough to complement the music, and not overbearing to distract the listener. Shadows Fall has no reservations about incorporating solos into the fray, proving it’s still cool to have flying fretboard fingers in the 21st century.

Some bands, no matter how powerful their live performance, fall short on their records. Instead of capturing their live essence and energy, they produce only a satisfactory level of artifical “studio” sound that generally results in their CD’s getting more use as a coaster for your beer than anything else. The War Within does not succumb to any such notion, romping and stomping through ten tracks that are more infectious than stepping on a rusty nail. It should be no surprise that Shadows Fall have also once again utilized Zeuss (Hatebreed, Blood Has Been Shed, Sworn Enemy) as their producer.

It’s pointless to single out any particular track and sing it praise, pressing any track number on your stereo is hitting a bulls-eye.

Shadows Fall are song architects, each member of the band understands the art of conveying emotion through music. They are not afraid to focus on a soft melody or groove while tying it together with six-string crunch.

The War Within is The Art of Balance, Of One Blood and more. Just as Master of Puppets is to Metallica, Peace Sells…is to Megadeth and The Number of the Beast is to Iron Maiden, this record will forever become synonymous with the name Shadows Fall.

Musicianship: 10
Atmosphere: 9
Production: 10
Originality: 9
Overall: 10

Rating 9.6 of 10

Review by Felix on November 21, 2021.

The third work of a band is usually regarded as the "make it or break it" album. But Fabulous Disaster does not clearly tend to right or wrong. Instead, it holds a couple of intriguing riff attacks, but it also contains some unappetizing farts. One might have thought that the crummy cover artwork represents the worst detail of the album, but I am speaking of much more serious problems. Do you want to know my interpretation of the album's title? Some songs are fabulous, some are a disaster. However, first of all, I would like to draw your attention on the jewels of the full-length.

The title track is a real monster and belongs to the best songs of their entire oeuvre. Despite the expressive vocal performance of Zetro, the "H-Team", Holt and Hunold, offers the most fascinating part. Their solos after the first chorus lead directly to somersaulted riff cascades that get more and more intensive. The variations of the song's main riff demonstrate the energetic force of the entire genre in a glorious way. This track and especially the worthy opener carry on the approach of Pleasures Of The Flesh. These songs are driven by the belligerence and restlessness of the band and draw the listener into the album. The B side also starts with two thrash detonations. The cross-generational 'Like Father, Like Son', equipped with much more nightmarish lyrics than all these ridiculous "I kill all Christians"-songs of some black metal scatterbrains, and 'Corruption' are replete with cutting riffs. The lyrics of the latter also holds a remarkable line ("shove it up your ass where the sun ain't shining" - really?) Too bad that the band failed to offer consistently songs of this quality.

The cover of 'Low Rider', thank God, I don't know the original version, seems to be performed by drunken weekend musicians. Any elements of thrash metal do not show up. Guess it was the soundtrack for a hula hoop session in the rehearsal room of the band. Swing your hip, if you really feel the urge to do it, but first make sure that the earplugs are seated properly. 'Cajun Hell' also fails to hit the mark. In accordance with the lyrics, the music conveys a swampy feeling. Some casual riffs valorise the tune, but it lacks of power and determination. Not to mention the last two tracks of the album that fail to enrich the catalogue of Exodus. Inconspicuous and without outstanding characteristics, these tunes just pass by without leaving a trace. I cannot believe that the guys themselves did not realize their mediocre quality. Or could it be the case that I am wrong? Maybe this is the problem, because I also do not highly appreciate 'The Toxic Waltz', although the vast majority of Exodus fans seems to love exactly this stomping piece. Irrespective of some mid-paced songs on Pleasures Of The Flesh, 'The Toxic Waltz' became the most prominent track of the group that did not focus on sheer velocity. Don't ask me why. In my humble opinion, the term "acceptable" describes this darling of the public sufficiently...

...and the same goes for the production. It appears to be incorrect to say that the mix lacks of penetrating power, because back in 1989, I was fine with the album's sound. From today's perspective, however, it leaves a fairly antiquated and frumpy impression. Nevertheless, it goes without saying that friends of Exodus must have this full-length, because four of its tunes show the institution in top form. But if you are not especially focused on the works of the band, you better write dozens of other thrash albums on your shopping list.

Rating: 7.1 out of 10