Whitechapel’s ninth studio album, Hymns in Dissonance, marks a formidable return to the band’s deathcore origins, delivering an unrelenting barrage of brutality that showcases their skilled musicianship and clear vision as a band. After exploring more melodic territories in recent releases, this album reaffirms Whitechapel’s position as a dominant force in the genre.
From the outset, the album establishes its ferocity with “Prisoner 666,” a track that supports Phil Bozeman’s guttural vocals with punishing riffs and driving drums and bass. This sound is reminiscent of their earlier works. Ben Savage performs an agile guitar solo. The title track, “Hymns in Dissonance,” exemplifies the band’s mastery in crafting relentless driving music that assaults the senses. The rapid blast beats and layered guitar work create a dense soundscape that defines great deathcore.
Throughout the album, Whitechapel demonstrates the ability to deliver varying degrees of aggression with melodic elements. Tracks like “Diabolic Slumber” and “The Abysmal Gospel” incorporate an aggressive atmosphere while still establishing the pummeling groove-laden sections without compromising intensity. This dynamic approach brings to light the skills of the musicians and ensures each track maintains a distinct identity within the cohesive whole.
Bozeman’s vocal delivery on this album is exceptional in its shading of guttural singing. His versatility shines as he navigates through demonic lows and piercing highs, conveying a palpable sense of menace and urgency.
The production on Hymns in Dissonance has clarity and depth, allowing the many levels of belligerence to be heard. The guitars possess a mammoth thickness, the drums are full and have punch, and the vocals are placed in the mix to make a sound that is polished and punishing. The production enhances the listening experience, allowing the intricacies of each instrument to shine through the relentless assault.
“Hate Cult Ritual” delivers a relentless intensity with its high-velocity and multiple shredding solos. The chorus and refrain are powerful moments. The closing track, “Nothing Is Coming for Any of Us,” combines the band’s rediscovered love of eye-opening extremity and mind-numbing brutality. Hymns in Dissonance shows Whitechapel’s enduring relevance and adaptability within the deathcore genre. By revisiting their heavier roots while integrating the chemistry and comradery gained over nearly two decades, they have made a compelling statement about their continued evolution. This release will satisfy long-time fans and will pull in new modern deathcore explorers.
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