There’s a reason why Every Time I Die are heralded as one of the most consistently brilliant bands in hardcore and their latest output, seventh studio album ‘From Parts Unknown’, is definitive proof.
The sombre chords at the outset of opening track, ‘The Great Escape’, signal the calm before the storm. When the song kicks in, it instigates an unrelenting torrent of pure aggression. Vocalist Keith Buckley begins by insisting on his aim of blowing your brains out, an ambition which he easily surpasses. ‘From Parts Unknown’ is heavy, really heavy. It also has enough riffs to fill most other hardcore bands entire discography. Almost every song on the album is driven by a fast-paced, dirty riff that makes you want to fling yourself into the nearest wall. But before you have the chance to fulfil that bizarre fantasy, you’re left transfixed by the hair pin bend into chaos that Every Time I Die seem to achieve so effortlessly.
Halfway through the album, you’re allowed roughly 90 seconds to compose yourself during the melancholy piano intro to ‘Moor’. But, even that minute and a half can’t be described as calm. The piano line is haunting and discordant and the repetition leaves the listener begging for a release just as they begin to hear the swirl of the imminent and inevitable return of brutality. Even Keith’s tinge of sentiment during the breakdown of ‘Thirst’, “They don’t love you like I do”, is ferocious.
If there was a small criticism for the album it would be the appearance of Brian Fallon of Gaslight Anthem fame on, ‘Old Light’. The southern American melodic drawl is a cameo that works more out of context than it does on the album as a whole. However, things quickly revert back to welcome aggression. As Keith screams “All I want is for everyone to come to hell” closing track, ‘Idiot’, brings the frantic half an hour to an end. You’re exhausted, but you just can’t help yourself pressing repeat.