ARTIST : Aversions Crown

ALBUM : Hell Will Come To Us All

LABEL : Nuclear Blast

RATING : 6.5/10

WORDS : Ali Grice

It’s hard not to become immersed in the strange extra terrestrial world of Aversions Crown. Trailblazers of the Aliencore niche, they have grown exponentially since their inception in 2010. Gruesome lyricism depicting visceral extra terrestrial deeds accompanied by rampant drums and aggressively fast riffs have always been the Brisbane noises makers calling card. Hell Will Come To Us All  however takes us down a new, discordant avenue of the deathcore quartet’s path to world domination.

Tying in their old ethereal ideas with socio-political unrest creates a surreal landscape for performance, but Aversions Crown have never been afraid of carving out their own normal

Notorious for sudden line-up changes, this album cycle has been no exception. Thrown into the limelight is new vocalist Tyler Miller (of The Guild), with his CJ McMahon-esque lows and arguably not much else. Clocking in at 38 minutes, Hell Will Come To Us All is a mismeasured, personality macerating album that pays little homage to AV’s distinctive unearthly discography.

The most stark aspect of the record is the thematic shift. From summoning demonic alien entities in 2017’s “Xenocide” to tackling real world issues, namely inequality highlighted in “Born In The Gutter”,  it’s certainly a transformation. “This part of the story focuses on someone that was given a great vision/revelation by a ‘higher power’ concerning the end of the world” states vocalist Tyler Miller. Tying in their old ethereal ideas with socio-political unrest creates a surreal landscape for performance, but Aversions Crown have never been afraid of carving out their own normal.

Having released “Born In The Gutter” earlier this year, we were met with the caustic, divisive vocals of Miller, throwing his voice into shuddering breakdowns whilst Cougan and Jeffrey’s 8 strings of terror lay down riff after riff of impressive technical death metal. Preceding this track on the album is the gloomy mood setter “The Soil”, pulling you in with its expansive drums and relentless barrage of blast beats, lyrically focused on the human desecration of earth.

this is a more digestible, accessible, condensed and poignant record than they have ever released, and for new fans this could be an easy entry point

The infectiously brutal hook on “Scourge of Violence” is a high point on the album, starkly juxtaposed with the droning repetitive title track “Hell Will Come To Us All”. Meaty gutturals and interesting dynamics create these tense moments that we lust after as listeners. Unfortunately there is an overarching feeling of ‘forced atmosphere’ throughout the record. Seemingly identical ambient intros forego “HWCTUA”, “Hymn of Annihilation” and “Sorrow Never Sleeps”, featuring ringing out chords with thick synth textures and the teasing of a killer riff before the drums hit. Predictable, but indisputably well produced and executed.

Drummer Jayden Mason’s precision and flare is commendable however, creating a malleable surface for Miller to assert his primal vocals amongst the chaos. In “Paradigm” we are graced with his faultless tom rolls and lethal snare slams as a backdrop to the lightning riffs and growing ambience. As far as AV records go, this is a more digestible, accessible, condensed and poignant record than they have ever released, and for new fans this could be an easy entry point.

Although it is impossible not to draw comparisons between Aversions Crown and other ‘Nuclear Blast-core’ bands Thy Art Is Murder and Fit For An Autopsy, they have have evidently moved away from their roots into new territory in an effort to maintain relevance, and only the fans can decide whether this was a worthy risk. Having lost their previously mesmerising flair, bizarrely the album is more alienating than anything they’ve ever produced.

Hell Will Come To Us All is out now via Nuclear Blast.

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