Bleeding Through – Nine (Sharptone Records)

One of the more unique acts to emerge from the metalcore scene, Bleeding Through stood the test of time due to their ability to write songs that didn’t rely upon what was then ‘the metalcore mold.’ While their breakdowns and vicious hardcore influences placed them in the scene, their use of death, black, and gothic influences made them a more versatile force to be reckoned with. They also weren’t afraid of playing around with those elements over time. While we don’t get too much, album-wise from them at this point, with 2018’s Love Will Kill All being their last entry (and it was the first in six years before that), Nine continues to showcase all of Bleeding Through’s strong points with plenty of aggression and flair.

Nine, due to the fact that it’s their ninth album, doesn’t go too far outside of the band’s usual territory and nor does it need to. Given their varied influences and inspirations, it’s a case where more of something that’s familiar is going to be a good thing. But that doesn’t mean they just churned out some more of the same. There’s some enjoyable tweaks to the formula that long-time fans should notice and appreciate. Most obvious would be that of utilizing keyboardist Marta Demmel more in a vocal role. “Path of Our Disease” further flirts with gothic atmosphere because of this tweak, though it’s not without it’s usual brutal BT moments with riotous groove. “Lost in Isolation” is given a more soaring chorus due to Demmel’s vocals and keys, not to mention a guest spot from God Forbid’s Doc Coyle for some added hooks. “I Am Resistance” all but gallops and blasts with energy at full throttle, and a collaboration with Comeback Kid’s Andrew Neufeld gives it potent wings.

On the heavier end of the spectrum, the build up to “Hail Destruction” is dark and ominous. The slow burn approach builds to an effective payoff due to the cinematic keys and punishing chugs that do nothing if they don’t invoke headbanging. “Our Brand is Chaos” carries with it some of the more traditional staples of Bleeding Through, such as the keyboard enhancements and blackened atmosphere, rumbling mid-tempo riffs, and moments of explosive chaos in both speed and breakdown form. As an opener, “Gallows” gives just the frenetic introduction that one would expect, delivering a whirlwind of riffing, blastbeats, and Brandon Schieppati’s visceral roars. If one was to choose a favorite though, the well-chosen single of “Dead But So Alive” fits the bill, with it’s raging riffs and blast intensity, menacing grooves, and for it’s ability to stop on a dime and provide one of the album’s most potent and catchy choruses.

Yet again, Bleeding Through have proven that they are worth the wait in terms of delivering the brutal goods. Nine is another start to finish winner from the group, having lost none of the intensity of their previous material, but able to continue to polish the more melodic side and tweak the formula just enough to keep things interesting. Fans of metalcore should rightly eat this one up. Another fine showing from one of the genre’s more underrated but deserving acts.