Bleeding Through
The Truth

THE REVIEW

Two years after the predecessor ("This Is Love, This Is Murderous"), Mr. Brandon Schieppati and his horde of rude rockers are back on the scene. We are faced with a work that can present different listening keys: on one side, we have the extreme metal-core fans, and on the other, those who also listen to other genres (with whom I identify); trying to be as objective as possible, let's move on to a collective listening (not track-by-track because I would risk unnecessary and boring repetitions).

Primarily, it can be said that the album moves, for almost its entire duration, on very similar coordinates; let's say that after a few listens, you might set aside (as I did) this new work by Bleeding.

We are faced with a devastating metal-core characterized, once again, by the usual inhuman screams interspersed with clean vocals that, over time, can positively impact an album that would otherwise be quite predictable (and here the true metal-corers might not agree too much, I believe...), let's say these latter add the right emotional charge to otherwise bare pieces that are similar to others present in the ensemble (e.g., "Kill To Believe" and "Love In Slow Motion"). What is noticeable in the compositions is the presence of an almost typically Thrash guitar riffage, a tight and bone-crushing drum alternating fast tempos (with hammering double bass, so to speak) and more "slow" and cadenced rhythms. The bass follows the drums and supports the already devastating guitar sound.

So far, so good! In the sense that anyone expecting Bleeding to improvise ultra-technical solos and assorted virtuosities can end their reading here of this review... The discordant note, in my opinion, in their sound is that keyboard that radically peeps in, trying to bring new life to the tracks, but which (with its senseless and repetitive tunes and melodies) trivializes the work (already not very original) done by our guys.
A small change of course comes with the track called "Line In The Sand," where you can hear the band dealing with a very melancholic and slow song, characterized by dark guitar arpeggios and a chorus with a desperate tone; the song immediately brings to mind how bitter the taste of losing something can be or the malaise that can happen to everyone during their course... An attempt to lighten the album succeeded (here the keyboard is not out of place, and there's a noteworthy guitar solo!).

Right after, we return to the usual canons, namely very powerful songs, not very catchy and full of unhealthy sensations, small examples of pure evil always spoiled at the most beautiful moment by a keyboard that starts to annoy the ears of the unlucky (or lucky) listener...

Ultimately, the Bleeding's "worry-free recipe" is not to be completely dismissed, also because, playing their genre in this period, it is truly difficult to be original in any way.
Highly recommended to those who love straightforward melodies without frills and compromises, to those who have suffered wrongs they can't recover from, and to those who are too shy to face difficult life situations; don't worry, Bleeding's malice can help you spit in the face of anyone all your displeasure...

As mentioned above, those looking for virtuosity and endless melody should stay well away from the act in question... For the rest, I still recommend a casual listen to everyone who, after an argument in which they couldn't prevail, considers mistreating someone, let Bleeding Through mistreat your ears with their devastating sound that will help you calm down (or get you definitively aggravated).

Greetings to all the DeBaserians with the hope of having enlightened you on this yet-to-be-reviewed CD. As usual: Rock and Roll!!!