A perfected, extremity-heavy formula... The intermingling of hardcore and death metal was always embraced by Bleeding Through, and their self-titled sixth instalment offers a version more complete than any of the band’s previous efforts and a more genuine blend of the two genres than recent trend attempts. There are still lung-tearing anthems in ‘Anti-Hero’ and ‘Salvation Never Found’, but mid tempo exploration on ‘Breathing In The Wrath’ and the significantly reinvigorated black metal influence as on ‘Slow Your Roll’ really give appreciable and welcome development.
Orange County, CA-based metalcore outfit Bleeding Through’s eponymous sixth album (and first for Oregon’s Rise Records) strikes the perfect balance between punk, grindcore, and symphonic metal. The latter, dutifully honored by keyboardist Marta’s instrumental opener, “A Resurrection” (a title that may serve as a tip of the hat to the demise of the group’s public battle with former label Trust Kill), falls right in line with intro-heavy Scandinavian death metal acts like Therion and At the Gates, and lyrics that range from classic punk swagger (I’ve heard enough of you/Fucking go away” [“Anti-Hero”]) to vintage black metal-infused refrigerator poetry (“This sinking feeling in your soul will forever haunt you/Disgusting apathy, no freedom from suffering” [“Slow You Roll”]) swim side by side in the grim waters of disillusion. Lean, deafening, and effective in its brutality, Bleeding Through may not have brought anything new to the table, but at least it brought everything else.
Bleeding Through is best known in the American metal scene for two things. The first is being one of the first metalcore bands to add keyboards to their sound, creating tones and atmospheres akin to those of European melodic death metal bands like Soilwork and Dark Tranquillity. The second is the woman who has graced the keyboards since 2003, Marta Pererson, a regular in press features that highlight attractive women in heavy metal.
The Orange County crew have delivered their most satisfyingly ferocious set to date. Mike Diver 2010 In hindsight, perhaps Gallows went too far in incorporating full orchestral passages in their second album, 2009’s Grey Britain. It’s one thing to have ambition, quite another to compromise the potency that made your name in the first place because you’ve the budget to employ a string section for an afternoon.