Demon Hunter
Storm The Gates Of Hell

What can a band do when it has reached the peak of creativity and finds itself in a position to reaffirm its caliber, unable to release anonymous or subpar albums? It depends...!

If we're talking about Tool, for example, who have—in fact—created a unique sound, then the choice would be to explore a universe they made themselves, into which no one else can delve. If we are looking at Demon Hunter, the perspective is different, as the Seattle band has so far conceived three excellent albums, through which they have provided a personal interpretation of metal, hardcore, and "alternative" genres and have created their own sound starting from familiar concepts. First with a self-titled debut of the highest level, then confirming and deepening ("Summer Of Darkness"), and finally making melodic ambitions explicit ("The Triptych").

Now it's the turn of "Storm The Gates Of Hell," and since all possible combinations have already been implemented, Demon Hunter opted for a work that stands as a state of the art of their musical knowledge. A work that, while maintaining evolutionary and stylistic coherence and immediate recognizability, materializes in the form of a mix of violence and accessibility supported by brilliant writing. Thus, we are faced with both hardcore blows right in the face and metal-oriented tracks (including classic) with a particular focus on catchiness and with bridging segments that range from robust emo to metal-core, from indie rock to new metal and hard rock, culminating in the creation of twelve varied, distinctive, and appealing tracks. Furthermore, Demon Hunter demonstrates another great quality: they know how to compose truly worthy songs, which is not a given.

Now it's time to wait, because my opinion is that with "Storm The Gates Of Hell," they have closed a magnificent cycle, and I am curious to see if in the future they will limit themselves to iteration or if they will manage to surprise us with unexpected choices/turns. Of course, the commercial factor weighs on them (not insignificant considering they sold over 10,000 copies in the first week of release alone), which does not necessarily align with the recklessness of discographic experimentation...!