A New Era Of Corruption
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|7. A Future Corrupt|
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|9. Murder Sermon|
|11. Single File to Dehumanization|
2010 release, the third album from the Knoxville, Tennessee Metal band. " I think this record truly represents where we are as musicians at this point in our career. A New Era of Corruption is the heaviest and most aggressive material we have written to date," comments guitarist and founding member Alex Wade.
Top Customer Reviews
"A New Era of Corruption" is, according to what the band says, where the musicians stands on a technical level. Well, one can wonders if this album is technically more mature than the precedent "This is Exile", another masterpiece. In my opinion, ANEOC is a bit more straightforward and compact, sometimes giving this incredible groove and continuity to the whole. You'll listen to it again and again, always discovering something new. Highly recommended.
The artwork is highly compatible with the music: representing all the darkness and the mechanized side of this music. "A New Era of Corruption" is available in digipak and on vinyl.
many of the victims are prostitute
about the music is great
Most Helpful Customer Reviews on Amazon.com (beta)
Metal N Mike
Whitechapel's first album, "The Somatic Defilement", was top-shelf deathcore. With "A New Era of Corruption", they have melded their influences into a distinct, diamond-sharp alloy sheathed in state-of-the-art production. There are fewer breakdowns, but other facets of the music are highlighted-- particularly, the song-writing itself (not to encourage the idiotic cliché that song-writing and ample breakdowns are mutually exclusive). The vocals definitely are more up-front, as another reviewer noted, but Phil Bozeman is in the top echelon of metal frontmen. What the band did not do is crank out third-tier death metal.
A discussion of perception is appropriate to this review, as the lyrics to A New Era of Corruption read like a concept album examining themes of identity, perception, immortality, power, and technology. The album artwork is a perfect match, true to the urban, apocalyptic and sci-fi themes befitting deathcore.
I was looking at an Eyehategod review on here where someone mentioned the mind-expanding (herbal remedy -friendly) qualities of the record and I thought, yeah, I can believe it, it is abstract and heavy at the same time. Just because it is heavy metal does not mean it is not mind-expanding or even "psychedelic" in the narrower sense. Since the advent of the so-called grunge era at least, heavy music, including heavy metal, has consistently been the most psychedelic music available. Part of the reason should be obvious-- we, humankind are dense as bricks. Even the wisest members of our species will inevitably lapse into states of auto-pilot consciousness. In the face of this constant threat, we are best served by art that hits us with no less a degree of immediacy and finality than death itself. It drags us back into the moment. That is heavy-- the existential heaviness of Alice in Chains, Nirvana, Tool, Godflesh, Neurosis, and about a million doom metal bands.
Just as crucial to the psychedelic issue, though, is what the music looks like, and here I think "hard" is the right word. Taking the example of Eyehategod again, yeah they are heavy as hell, but I am not sure if you can call much of their music hard. Some of their riffs could break apart a glacier, but a lot of it is slow and plodding by definition. Nirvana, on the other hand, can be pretty propulsive and hard-edged-- look at Grohl's drumming for starters.
What you listen to should depend on the purpose to which you put the music. Do you listen to it to exorcise your demons? Do you listen to it to get motivated to hit the weights? To hit something else and let the music take you on a voyage? Do you listen to it to drink and be merry and sentimental?
I believe that heavy metal's true purpose is to paint patterns on the third eye. The incidence of synesthesia in the human population is probably higher than reported-- at any rate, it is very common for people to describe sound and music using visual metaphors-- "angular" riffs, or sound "colored" by the speakers. The great strength of metal is that it trims the excess sentimentality that clutters the pure music-listening experience, and focuses exclusively on the visual and visceral experience. When I listen to metal it has a shape, specifically because the sound is hard-edged.
Pantera, Slayer, Sepultura, Fear Factory, Slipknot, Lamb of God-- yeah, they are all heavy, but they are also hard as nails. If you want something of the same or even greater intensity, you need death metal or deathcore.
Whitechapel are gods of deathcore, but songs like "Unnerving" and "A Future Corrupt" will also satisfy your hunger for blastbeat-ignited death metal velocity. A few well-placed interludes (intros, outros)-- that evoke a subterranean graveyard for rusted borgs-- provide some well-needed breathing room.
Finally, there is something cathartic about a display of pure hatred in aural form, which is why hardcore punk music exists. If you are in the throes of righteous indignation, or lost in self self-pity, lovesick, or in a general rage because you have to get up and go to a braindead job, the grooves and hostility of the best songs on here, like "Murder Sermon" and "Reprogrammed to Hate", will get your head straight. But insofar as Whitechapel incorporate elements of hardcore savageness, it is more in the service of being "hard" than "heavy"-- that is, the bottom line is not the emotion it conveys, but the image it etches on your eyelids. That makes it heavy f'n metal.
"Devolver" boasts crunchy, chugging, rusty-sounding riffs, driving, underlying blast beats, and monstrously brutal and crusty, Dying Fetus/Misery Index-esque vocals,. Add some chunky, lurching hardcore breakdowns and occasional guitar harmonies to the mix and the end result is a very strong and memorable set opener. "Breeding Violence" also has really powerful and memorable vocal patterns, occasionally punctuating near goregrind-esque pig squeals with high-register, black metal-like shrieks. "The Darkest Day Of Man" is fueled by blistering, impeccable, machine gun blast beats, thus making it a piece of almost pure grindcore (although some extra low and evil-sounding deathly growls are included, here.) "Reprogrammed To Hate" is a kind of ordinary deathcore song, and it certainly is a breakdown-happy one. But its saving grace comes in the form of more excellent drumming -- skinsman Kevin Lane lays down some really inventive and dexterous drum fills throughout -- and a fairly ripping guitar solo. The track is also noteworthy for featuring a cameo from the Deftones' vocalist Chino Moreno.
"End Of Flesh" is another very Dying Fetus-influenced death/grinder that accompanies chunky, pounding guitars with booming deathcore breakdowns. And the tune tucks in a completely unexpected melodic guitar break for good measure, too. "Unnerving," however, works much differently. It begins with a slow, forebodingly atmospheric, symphonic black metal-sounding keyboard intro before blasting off with an excellent and propulsive drum solo. And things eventually settle down into lurching, rhythmically-lock-step unison rhythms. "A Future Corrupt" is an surprisingly blistering and almost purely thrashy number anchored by more motoring double-time drum pummel. It has a few slow death/metalcore-ish breakdowns, sure, but Whitechapel riff their way out of them in no time.
"Prayer Of Mockery" and "Murder Sermon" are two more fiery and blood-pumping cuts. The former is driven by crunching guitar leads and machine-gun-fast drumming, and is also highlighted by brutal pig-squeals, commanding breakdowns, and occasional melodic solos. And the latter is highlighted by guest screaming from The Acacia Strain frontman Vincent Bennett and some savagely nasty, Gojira-inspired riffing. But "Necromechanical" is a shocker. It creeps by at an ominously slow, and even doomy pace. Needless to say, it is a big standout track on account of it being such an anomaly. And how about the fairly wailing guitar solo, too?! And "Single File To Dehumanization" wraps things up, and does so with another broodingly mid-tempo speed, frequent harmonic sections, and noteworthy melodic guitar outro.
In sum, "A New Era Of Corruption" makes for one pretty darn satisfying listen. Any fan of either the death metal or grindcore genre should find much to sink their teeth into and feast on, here.