very good album, great from the first song to the last. good and heavy m/
Grammy-nominated. Respected by peers. Revered by fans. An unstoppable force. Tougher than a prison yard. Architects of positive, uplifting anthems that require and demand crowd participation. That’s Hatebreed, top to bottom, back to front. This Connecticut hardcore/metal institution has been demolishing its way around the globe since 1994. Not many bands can enjoy that kind of longevity, but Hatebreed have made ”being a career band” look easy. They’ve endured typical band ”issues” like changing members and record labels, but through it all, they’ve never compromised and never looked back, instead choosing to charge ahead and make the most brutal, boot-to-the-teeth music they can. And here they are, 15 years into their storied career, which includes four stints on the quintessential summer tour Ozzfest, racking up more appearances than any other band other than Ozzy himself; there are countless magazine covers (including a forthcoming issue of American metal Bible, Revolver); a Grammy nomination for ”Live For This” from 2004’s The Rise of Brutality; a debut album, Satisfaction is the Death of Desire, that is considered a classic release by fans and critics alike; a front-man who was invited to serve as the first host of the exhumed Headbanger’s Ball on MTV2; and countless fans who hail from all walks of life. Go to a Hatebreed show and you’ll see dudes, girls, and casual metal fans with a soft spot for Hatebreed. Hatebreed’s music is like a universal language that so many speak and comprehend. Despite all the accolades, the rich history and the band’s keen ability to remain relevant deep into the second decade of its career, Hatebreed refused to rest on their laurels for Hatebreed, their fifth proper studio album, not counting 2009’s For The Lions, which found the band flexing its creative muscles and covering influences such as Slayer, Misfits, Agnostic Front, Cro-Mags and Sepultura! The band retains the same headspace from For The Lions, by confidently trying new things and attempting different things to result in fresh, unexpected sounds. For Hatebreed, former guitarist Wayne Lozniak returns to the fold and the band inked a new record deal with E1 Entertainment for U.S. and Canada and Roadrunner International for the rest of the world. This flurry of activity has infused the band with new life and a renewed sense of energy and as a result, everything about Hatebreed is bigger, stronger and louder. It’s like the band has been rejuvenated by all these changes. After 15 years of brutality, the music is fuller, more technical and Hatebreed finds the quintet boldly going to new places. The results are beyond impressive and the risk has yielded a greater reward. Each track on Hatebreed is both like everything you’d expect and nothing like what you are expecting, a testament to the band’s ability to change without veering too far off course. ”Become The Fuse”: The song boasts the technical playing that defines the album and is bolstered by Jasta’s authoritative vocals. ”Not My Master”: An anthem in the classic ”Hatebreed style,” the song boasts a bold chorus, simple `n savage riffery and a singalong. This is vintage Hatebreed, which will delight fans old and new. ”Between Hell And A Heartbeat”: The band goes beyond 2-minute hardcore anthems, with a Slayer-style rocker that rattles teeth loose from gums. ”In Ashes They Shall Reap”: With its shrill feedback, which is reminiscent of classic, live hardcore matinees at CBGB, the song is new territory for Hatebreed, with Jasta employing a singing vocal style not previously heard on Hatebreed records. The influence of his side project, the sludgy Kingdom of Sorrow, has found its way into a Hatebreed song and it works. ”Hands Of A Dying Man”: Thrashes and burns and leaves a mark with its fast and thrashy riffage. A hallmark, signature Hatebreed chorus and technical guitar work abound. ”Everyone Bleeds Now”: Chunky and riffy, the song is not so much a change of direction or a change of pace as it is building upon the already- sturdy Hatebreed foundation. ”No Halos For the Heartless: There’s layered melodies and singalongs that could have been birthed at Toad’s Place in Connecticut or at any venue in the Bay Area. The band displays its influences but makes the sound unique and its own. ”Through The Thorns”: A song with Hatebreed signature moves, like empowering lyrics and a positive, yet devastating pit factor. ”Every Lasting Scar”: A venomous song that gets the red out, thanks to its cathartic, cleansing metallicness. But once again, Jasta has the confidence to do new, different things with his voice, like sing! ”As Damaged As Me”: Destined to become a song you send to someone who has fucked you over! ”Words Become Untruth: Like Cro-Mags, Slayer, and Testament all rolled into one, but with Hatebreed’s unique flourishes. ”Undiminished”: The most unexpected, yet satisfying song on the album. It’s a doomy instrumental that clocks in at nearly four minutes. ”Merciless Tide”: Another Hatebreed anthem that’ll have kids in the pit screaming along, finger pointing and quoting it on their Facebook status updates. ”Pollution Of The Soul”: The band goes out like lions on the final song, another classic Hatebreed anthem. It’s clear from all the different and new elements on Hatebreed that this band, who has seen and done it all within their genre, has had the courage to test their creative limits and exceed them , by trying new things, such as more pronounced, technical guitar work and through Jasta’s vocal prowess. But the band never sacrifices the ultra-aggressive music in order to try new things. The band took risks and the dividends will be reaped once fans hear Hatebreed.
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I can’t believe that I have been listening to Hatebreed for over 10 years now. Back then their songs were the soundtrack to my life and the barriers I was overcoming. This album is more of the same and although I’m not as angry as when I was younger and my life is actually pretty good, these Hatebreed songs can help inspire anybody that is going through some adversities in life. To me Hatebreed has always been more about the message than anything else.
It’s too bad that Supremacy wasn’t as well promoted as Hatebreed had hoped it’d be. It was a good record. So after leaving Roadrunner Records, they signed an interim deal with Koch Records to put out a few releases before they figured out where they wanted to go with the next record. Soon came Live Dominance, a badass live dvd with a killer show filmed in Detroit featuring a long setlist of some of their heaviest, and best songs ever written. Then there was For The Lions, the covers album featuring songs written by Slayer, Metallica, Cro-Mags, Suicidal Tendencies, Black Flag, and many others. A live album that was recorded in Texas with Vinnie Paul (Pantera, Hellyeah) co-producing was promised, but has not been released to this day (where’s my live cd, Hatebreed?). Anyway, here we are with the band’s self-titled effort which sees them back on an independent label after spending time putting out records on Universal and Roadrunner, this time on E1 Music (formerly Koch Records). Longtime guitarist Sean Martin is gone, but longtime friend and ex-guitarist Wayne Lozinak is back and is showing that he hasn’t slowed down one bit. I know it seems cliché to say that the band has matured as they really haven’t matured much over the years, but this record is probably about as mature as it gets. The band has found a way to keep things fresh this time rather than putting out another album with the same sound as they have with the last couple of records. There’s actually some thrash metal moments, and Jamey Jasta even tries out some use of clean vocals to make it more interesting. Overall, a devastating record. I almost passed on this thinking that Supremacy would be the last great record the band would put out. From Perseverance and onward, each album got heavier and heavier, and I wasn’t sure where they’d go with the new one. This shows me they’ve got more tricks than I thought.
Hatebreed has been a band which I have always enjoyed, but never really thought they lived up to the hype surrounding them. Sure, Jasta is a great vocalist and frontman. I dig the whole eastcoast hardcore scene, mostly my favorite tough-guy gansta-core rockers Merauder. (They have an AMAZING new cd out now called God Is I. It is impossible to find in stores due to record company problems – pick it up here on Amazon.) I have dug out my Hatebreed catalogue when the time seemed right. They just were not a band that I could always listen to. On their self-titled record, this has changed. In recent years, Jasta has been bravely honest about his struggles with depression and feelings of being a hypocrite while he spouts venomous lyrics of hope and overcoming adversity while he secretly felt hopeless and defeated. This served as inspration for side projects Icepick and Kingdom of Sorrow. Now it seems the man from Connecticut has come full circle and is steering his fulltime band into new territory for hardcore. This was alluded to by the stellar cover disc For The Lions. Taking risks such as the cover of Metallica’s early melodic thrash tune Escape made Jasta actually (::GASP::) SING! Blaphemy, you say. Kudos, I say. Back on the last true Hatebreed studio record I reported strains of melody in the guitar passages. Those are expounded on Hatebreed and harken back to such hardcore pioneers as Minor Threat, D.R.I., Bad Brains, and even Fugazi. This is great to hear from a band and frontman who seemed destined to be the filler band to take up the slack behind Sick Of It All, Vision Of Disorder, Merauder, etc… By opening up the sonic structure of what it means to be a Hatebreed record these guys have created what is in my opinion their first true classic. This release will stand apart from the previous discs on its diversity, honesty, and ingenuity. My hat is off to Hatebreed. Welcome to the hardcore elite. Five stars.
Just when you thought Hatebreed couldn’t get any louder and heavier, they crank out their best album yet! Hatebreed’s self titled release combines everything you love about hatebreed and puts it all together again. I own every Hatebreed album they have released and while I was disappointed with there last album which was a cover album called “For The Lions”, which had them changing their style to fit the other bands who did the songs Hatebreed covered. On thier fifth release self titled album they continue the Hatebreed tradition and provide better lyrics and raise the intensity. These guys sound better than ever and show you that they are unstoppable when it comes to hardcore metal.
If you liked their other albums you will love this one. It sounds like Hatebreed on steriods and louder than ever. Thank you Hatebreed for your best album with fresh lyrics and that powerful hardcore style.