One simple lesson learned four years ago has now paid off hugely for All That Remains. While the majority of its early 2000s peers, including Unearth, As I Lay Dying, and Shadows Fall, have since struggled to take their music to the proverbial “next level”, the Massachusetts band has done so with resounding success, all because it figured out that even in metal one little hook can make all the difference in the world and can catapult a group from as also-ran to mainstream success. Already an accomplished act prior to 2006 thanks in large part to their ability to fuse New England metalcore and Swedish melodic death metal, they still needed to separate themselves from the rest of the pack.
All That Remains fans you have plenty to feast upon For some reason it’s startlingly inoffensive that All That Remains largely refuse to develop upon their heavily established metalcore base. Perhaps it’s because the tracks on ‘For We Are Many’ are impeccably written and performed, or because, unlike so many chug imps, All That Remains actually helped found the genre that countless have leeched upon. Besides, Oli Herbert’s ethereal guitar leads are always unceasingly addictive.
With their combination of metalcore chugging and soaring Gothenburg metal, All That Remains bring both aggressive fury and harmony on their fifth studio album, For We Are Many. Once again working with producer Adam Dutkiewicz (who also plays guitar for Killswitch Engage), the band finds a nice balance between heaviness and harmony, shifting back and forth before between the two rather than pummeling the listener into a corner with the usual riff/breakdown/riff/breakdown formula that’s so common within the genre. What makes the album really interesting are the occasional old-school flourishes that pop up here and there.