BTM (as the kids call them) have been breaking down breakdowns, and out-spazzing the spazz since just before deathcore took off in the mid 2000’s.
After 2 albums and 1 EP, these Canadians have returned with a more groove laden, and ‘deathier’ release, but still lay down slabs of slam. By ‘deathier’ I mean that the structures are more progressive and flowing, but fear not, the chaos we all love is still present. Kicking off with Symptoms, we are left with no illusion that BTM are here to destroy. The track jumps out at you in a thunder of drumming, guitar attack and roaring vocals. The playing skills of BTM have always been a highlight for me, the Guitars of Christopher Bradley leap all over the frets in a composed chaos. On this album, leads are more prominent, check out Light as a prime example.
Beneath The Massacre are well know as keen devotees of the breakdown (or deathcore break downs anyways), and whilst Incongruous is scaled back on this approach, Hopes has a huge breakdown with vocal backing that compels you to nod enthusiastically.
The Vocals of Elliot Desagnes are powerful, raw and intense. He is a bit lower in the mix on this album, so the lyric sheet (printed in red on the cd, at times hard to read) comes in handy. His phrasings are at times off-kilter, but they are really suited to this style of chaos, check out Damages as reference.
Drumming on this album, as with all BTM recordings, is top notch. I have always held the belief that there must be something in the water in Canada, as a large portion of extreme drummers from that part of the world are totally untouchable. Justin Rouselle again showcases his virtuosity and skill, switching between straight forward percussion, to octopus like kit work. His highlights are his double work and blast drumming. And when it comes time for the slam, he knows how to thrash that crash! Listen to Pedestal.
The Bass work of Dennis Bradley (brother of Christopher) is an equal to the Guitar in his abilities. ‘Funking’ his way through the album, I would rate him up there with the Alex Webster’s (Cannibal Corpse) of this world. His finger picking and tone bring to mind a man possessed, as the speed and intensity required are so demanding.
Other songs of interest are It, and Unheard, but all 10 songs on this very quick album are well worth a listen as a showcase of pure inventiveness and drive.
Whilst many ‘old-schoolers’ may find this too full on (at 36 I qualify as such, yet I really love their work), I also think many ‘scene-kids’ will also find BTM challenging. They have never been ‘screamo’, they just love to slam; who doesn’t?