Christian metalcore, as a genre, has no shortage of detractors. Many source its fundamental unlikeability to its implied, often third-tier piety and identikit nature. Today, let’s put all that to one side and look at the music exclusively.
After reading the hype about ‘darkness’, ‘relentlessness’, lyrical misery and so on, one can be forgiven for expecting, at the very least, a properly heavy record. Production wise, there’s lots of chunks, chest-out ambience and plunging bass, with the ubiquitous backwards cymbals during empty moments in the beatdowns. Adam K, of gurning warriors Killswitch Engage, acted as executive producer with Matt Goldman, who worked with The Chariot, giving the whole record a dense, modern feel. That was a good omen; initially, at least.
Hereafter, my tolerance for this album evaporated. 13 tracks of overly plaintive, hope-withering bluster was too much, and by the half-way point of Sailor’s Prayer I was considering a future without sight or hearing. In an attempt to find something to like, I forced myself to listen to 8:18 over and over again. Of all the tracks contained therein, War’s chorus stood out, as did some of the quieter moments, the saccharine jubilation in squeals that is In Heart managing to pull itself from the wreckage.
The vocals, however, were agony. The brattish, unlikeable, sputtering yelps of a slackjawed shrieker boiled every drop of my blood. In the hope that this was a new, ill-advised direction, I consumed TDWP’s back catalogue, only to find the same material, with even more hateful vocals. Dangerously toxic even if coming from a teenager, these are the worst kind of look-at-me screams, the sound of someone professing brutality without any of the danger.
8:18 is a record TDWP fans will love, delivering as it does a toothless stream of single-minded, unimaginative, cro-magnon melody, an abundance of empty lyricism and a total absence of new material.