Hatebreed
Supremacy

THE REVIEW

Every Hatebreed album doesn't offer much innovation, but let's leave that to bands that have a different approach to music, one of experimentation that often results in unsuccessful amalgamations of genres. Hatebreed doesn't need to innovate and experiment, therefore trying to diminish the real essence of this group with phrases like "songs are too similar" or "no innovation" means unnecessarily seeking intellectualism and forced aspects in music born without any need to present themselves differently than with their own face. Hatebreed's best weapon is a charge, which in a period when metalcore only means melodic vocals and double bass at every opportunity, is truly golden, and then a great spontaneity in creating genuinely angry and snarling songs without the usual adolescent rage of other new-generation metal-hc groups.

Noteworthy in this album are: the riffs, which unlike other hardcore bands, offer more complex rhythms and closer to thrash metal, Jamey Jasta's voice, a roar between Max Cavalera and Iena from Woptime, the excellent production that completely does justice to the band's sound brutality.

Defeatist opens the album with deadly force, Jamey Jasta's scream tearing the air supported by rolls and malicious riffs, the following Horrors of Self and Mind Over all have a similar structure with the mid-tempo interlude that really breaks with its choppy riffs; also excellent are To the Threshold and Destroy Everything, as devastating as the title suggests, with an immediate chorus and relatively low speed, bringing them much closer to metal rather than hc, even in the power of the riffs; worth mentioning are also the penultimate As Diehard As They Come, and the closing Supremacy of Self with choruses a bit reminiscent of Agnostic Front.

In conclusion an excellent album, recommended especially for those who love hard and extreme music that allows little to melody and much to anger, in which speed and hardcore attitude coexist with power and metallic riffs, drums with double bass and truly breathtaking breaks, hyper-fast and tight tempos, but not just one and a half minute shards: also notable mid-tempos and slow interludes with choppy riffs and truly exciting tempo changes.