2023-07-17 11:45:40
Chamber play the metallic Mathcore on their eclectic second studio album so ruthlessly brutal that even while listening you want to tear the angry slamdance through solid walls: The 29 minutes of A Love To Kill For don’t waste any time and will not only be for fans of Vein.fm, Boundaries, Knocked Loose, End, Chariot or Foreign Hands already have a hot contender for scene record of the year 2023.
What already in 2020 with the debut album Cost Of Sacrifice displayed and regarding the 2022 EP Carved In Stone was underlined, now you get it A Love To Kill For also the necessary explosive holistic momentum on the way to start a veritable hype and to a certain extent the update to the darling of the scene Errorzone to offer: Chamber do little differently than many of their fellow campaigners (and also the colleagues mentioned at the beginning, who can serve as an approximate reference of the sound of the Nashville berserkers) – but they do it so much more effectively, compellingly and simply better that it doesn’t need any real originality to To let the wrecking ball with guttural roaring scab swing, hissing, shredding and squeaking over the bulk of the competition.
The grim crushing energy of A Love to Kill lets the adrenaline level rise, the wrestling of the riffs with dissonant, teasing attacks and short melodic forebodings is also catchy apart from the gripping attitude, intricate and yet performed with a cathartic directness, so that the seamless stream of panic chord shreds or brute breakdowns with tense neck muscles close ranks to technical finesse, and the symbiosis of witty songwriting fueling pragmatism, an absolutely intense performance and physical presence beat each other in the face with an unpredictable field of heavy detonators.
Over the compact playing time, despite its frontal agenda, the album hardly lets up when it comes to captivating attention – even relative standards like One Final Sacrifice develop a clout that beats the average and are additionally driven by the context of the album: the following We Followed You to the Bitter End distilled Dillinger Escape Plan-Finally, chicanes in just 13 seconds, huh Our Beauty Decayed, Nothing Was Left spinning in oscillating noise for 25 seconds. Mirror On the other hand, later, with just over half a minute of playing time, it is almost elaborately laid out – and changes its pace to match it as if in madness without limits, but without evoking anything inconclusive.
At My Hands also only needs a short time to switch from relative deep breathing to definite excess and further into a well-considered fanning out of the depth effect, so it definitely takes time to promote the atmosphere, meanwhile Tremble as you stomp on the gas like a bulldozer and groove on speed To Die In the Grip of Poison mit Matt McDougal (Boundaries) an Misery Signals Leaning further over the doomy death roller and Devoured (with Matt Honeycutt from Kublai Khan TX) takes a stranglehold on the manic chaos.
When Deliverance Comes is closer to hardcore with an aesthetic sense of the dark depths in the textures and Cyanide Embrace exceptionally fans out the pragmatic-perfect, if not particularly multi-faceted vocal spectrum with snarling passion.
And while the title song actually already ideally drags the scenario into its demise, bludgeoning Chamber with Hopeless Portrait followed by an emphatically grindy descent – and poured additional kerosene down the throat of the insatiable, by no means dull potential for addiction, especially in the exhausting confrontational lust: An album like an excitingly flexing gym workout!
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