It might be 2017, but believe it or not metalcore is still a thing. To release music in a genre that can often sound dated but make it sound just as inspired as it was over 15 years ago, you have to either be bringing something new to the table or be at the top of your game. All That Remains were one of the early pioneers of metalcore and they’ve arguably been one of the most consistent too. More than aware of the need to rock their mechanical boat and adapt to get out of the constraints of their genre, they’re back with their eighth studio album ‘Madness’, that’s packed full of new ideas to keep them sounding fresh.
Opener ‘Louder’ bursts to life with a massive chorus that reminds you of some of their biggest metal tracks from past records, but you do question whether there will be anything different on this record compared to what they’ve mastered previously. ‘Open Grave’ kicks in with a crushing riff from lead guitarist Oli Hebert and features some of frontman Phil Lambonte’s most devastating vocals to date. His growls are much less frequent compared to earlier work, but when he does throw them out, they flaw you with their power and ferocity. While many vocalists from Lambonte’s era struggle with growls, his have never sounded stronger. Remarkably similar to Five Finger Death Punch in style (Lambonte has even been their temporary vocalist on their latest tour) there’s still a huge market for this kind of meat-and-potatoes metalcore.
The title track and ‘River City’ are possibly the most melodic songs they’ve written in their whole time as a band. It seems a bit aimless but then ‘If I’m Honest’ and ‘Back To You’ take this a step further; acoustic guitars at hand, the band try something completely new and almost go full country. With super producer Howard Benson (My Chemical Romance, Halestorm, 3 Doors Down) at the helm, it’s no wonder ‘Madness’ is the most radio friendly album of the band’s career. The electronic influence they claim to have added is there but it still seems minimal (they’ve hardly turned into Crossfaith overnight); if anything they’d have been better off playing with their electronic side more than playing it safe with acoustic guitars and ballads. The lack of inspiration is saddening.
There are still moments of brutality, albeit watered down. ‘Safe House’ contains an ineffective breakdown and the majority of the record has sub standard guitar solos. There’s a solid end with ‘Drive By’ and ‘Never Sorry’ that wakes you up, kicking it forwards by a few gears, but at this late point in the album, the damage is already done. When the likes of While She Sleeps are changing the game for the whole genre, All That Remains couldn’t sound more old fashioned at this point.
If you’ve never heard All That Remains before, don’t start on ‘Madness’. Go back and listen to ‘Overcome’ and ‘Fall of Ideas’ so you can understand just how much of a force they were. If you’re already a fan, you have nothing to worry about: ‘Madness’ continues what they started but with a bigger focus on melody than ever before, however it lacks aggression and that’s one of the key points that set them apart in the first place. The experimentation with electronics without compromising on their metalcore roots is certainly a welcome addition, but the loss of their formerly brutal nature for a more relaxed sound and slower pace can be off-putting.
LOUIS KERRY