Ever since the release of their 2009 debut Humanity, Bleed From Within have been an integral part of the Scottish metal scene. Not only that, but they’ve consistently proven to be masters at blending metalcore, groove metal, and melodeath into an increasingly potent result. Clearly, they’ve lost none of their luster or ferocity on their latest record, Zenith, which picks up where 2022’s Shrine left off by delivering another full-length excursion into dense and melodic brutality.
Zenith is appropriately billed as containing their “heaviest, catchiest and most intrepid music to date,” with drummer Ali Richardson explaining that the title reflects how Bleed From Within are now at their “highest point so far.”
“We’re acknowledging everything that we’ve done to get to where we are now, but also recognizing the space above us and how far we still have to go. There’s been so much growth, but we still have so much to experiment with. . . . The top of every mountain is the bottom of another, and that’s where Bleed From Within are at.”
Helping them bring Zenith to life are a who’s who of genre talent, including ex-Periphery bassist Adam “Nolly” Getgood recording drums, SikTh guitarist Dan Weller assisting with vocal production, and performance contributions from Wes Hauch, Rebea Massaad, Josh Middleton, and perhaps most impressively, Mastodon drummer/vocalist Brann Dailor.
Of course, none of that effort would matter much if the result was unsatisfying, but fortunately, Zenith is quite the opposite.
Specifically, its intricate viciousness is routinely captivating and impressive, with frontman Scott Kennedy delivering a ripping vocal performance across the disc. For instance, aptly titled opener “Violent Nature” offers a virtually endless onslaught of jackhammer percussion, agitated guitar riffs, and hellish screams. It’s a thoroughly tumultuous assault that’s as tightly constructed and performed as anything else Bleed From Within have done, pulling you in from the first moment and never letting up.
Several other tracks uphold the same sort of nonstop hellishness, but they’re often elevated by the band’s typically clever nuances and additions. Namely, “In Place of Your Halo”—which “marks the beginning of the next chapter” for the band—is bolstered by the quirky (and personally endearing) use of bagpipes, just as “Dying Sun” stands out due to its anthemically militaristic percussion, digital beats, and tribal shouts.
Naturally, the group also incorporate plenty of clean singing and tranquil passages to bring more diversity and resonance to the affair.
“Immortal Desire” is the best example of that, with its operatic chants, calming harmonies, subtle strings, exhilarating guitarwork, and hypnotic choruses (courtesy of Dailor) making it the most ambitious and sundry composition by far.
Likewise (and despite evoking Metallica’s “The Unforgiven” a touch too much), the acoustic guitar arpeggios, gothic piano playing, empowering vocals and epic scope of “Edge of Infinity” make it a highly rewarding finale. Along the way, pieces such as “A Hope in Hell,” “Zenith,” and “Hands of Sin” are also punctuated by singable hooks and somewhat peaceful arrangements.
The cumulative savagery of Zenith can occasionally get a bit repetitious; however, there’s more than enough passion, variety, imagination, and talent (including various guests) to compensate for any momentary dives into monotony.
Overall, Zenith falls easily among Bleed From Within’s top albums, offsetting its core devilishness with an impressive amount of gratifying stylistic detours and/or concurrent enhancements. Nearly every track features fascinating instrumental/vocal layers or adventurous new sections, demonstrating that although the quintet have been around for two decades, they’re still extremely capable of creating and executing a top-tier metalcore/melodeath record.
Bleed From Within’s Zenith releases on April 4 via Nuclear Blast Records.
Source: www.metalsucks.net
