Featuring a guitarist from Tesseract and an ex-singer of Eths, Cage Fight are here to smash your face unceremoniously into the concrete, over and over again. Prepare yourself. Continue reading “Cage Fight – Cage Fight (Review)”
I don’t often get to listen to much belligerent hardcore these days, so it’s great when I cross paths with something as heavy and uncompromising as Abolitionism. Continue reading “The Noble – Abolitionism (Review)”
Earth Caller’s metallic hardcore operates more on the hardcore side of the trenches, but that doesn’t mean that their beefy metallic content should be discarded, however. Continue reading “Earth Caller – Crystal Death (Review)”
Face Value is an angry slab of metallic hardcore; 29 minutes of teeth and attitude. Continue reading “Of Legions – Face Value (Review)”
I haven’t encountered Walls of Jericho since their 2004 album All Hail the Dead, which I really enjoyed. I’m not too sure why I never got any of their subsequent releases, but at least I’m finally catching up with them again now, a mere 12 years later…
Coming from a very fertile time in Hardcore/Metalcore history, Walls of Jericho continue to play the kind of heavy, angry music that’s so effortlessly pit-friendly and easy to move to.
The singer’s angry snarl appears to have gotten even gruffer over the years since I last heard her, and on this newest album she sounds on fire with her aggressive delivery. It’s interesting, as on some songs she varies her style a bit and when she screams a little higher in places she sounds more like her old self. Which do I prefer? Honestly not sure. Her deeper voice has more drive in it but her higher one has more personality. Ultimately both do the job nicely, just in different ways.
The songs are compact and belligerent, echoing the style of fellow bruisers Hatebreed, Terror, Born from Pain, etc. only with Walls of Jericho adding their own spin on things. They seem absolutely designed to be played in a live environment, with every riff tweaked to provide maximum mosh-pit action.
Featuring a plethora of heavy, chunky riffs and enough breakdowns to snap a leg to, this is a record that’s easy to get along with.
The last track Probably Will is completely out of place and out of sync with the rest of the album, showing a definite different side to the band and the singer in particular. It’s great to hear and a great song, but as it’s so different to everything else on here it almost shows large chunks of the rest of the album in a bad light as it has much more depth and nuance than anything else on this record. The key word in that last sentence, though, is almost, as the material is strong and confident enough to stand on its own when compared to its softer side.
Overall, this is a strong return for the band after an eight year absence, and No One Can Save You from Yourself is definitely a recommended listen for when you want to feel energised and firmly want the cobwebs blown away in the morning.