
(TheMadIsraeli reviews the new album from Orange County’s Bleeding Through, which is out now on Rise Records.)
Anyone who was around when the metalcore explosion was happening and followed its development should know who Bleeding Through are. Their revolutionary (and unmatched to this day) combination of hardcore brawn, black metal venom, thrash metal fanaticism, and death metal brutality — all with symphonic overlays courtesy of the only female keyboardist in metal worth a living fuck — has yet to get old for me.
I remember when people were pronouncing Bleeding Through’s demise when founding guitarist Scott Danough left the band after The Truth and thought they would start sucking, but Bleeding Through has been proving everyone wrong ever since, writing their best material on their last two albums, Declaration (2008) and Bleeding Through (2010), which showed that Scott apparently didn’t have much to do with the song-writing process at all. So what’s the verdict on this band’s new album The Great Fire?
This is their most brutal yet most experimental effort yet.
This is a much faster, much more visceral and frantic Bleeding Through than we’ve ever heard before. At the same time, this is also the oddest Bleeding Through, mainly due to Marta Peterson’s new-found sense of adventurism in the keyboard and symphonic department. Adding instruments and sounds that were begging to be incorporated into Bleeding Through’s music — organs, harpsichords, fucking electronic-as-all-get-out pad sounds that are lo-fi as shit — she has helped create a much more blackened atmosphere than has been heard before. Continue reading »









