Killswitch Engage
As Daylight Dies

THE REVIEW

Killswitch Engage you either love them or hate them.

Their music either conveys power and artistic expression, or you can't stand so much rage, such instrumental charge. We live in a free country, everyone has the right to speak and reply. But if “As Daylight Dies”, the fourth offspring of this prolific Massachusetts band, could enjoy anthropomorphic physicality, I would listen to it talk for hours. It is a truly formidable record, it definitively establishes the KSE style, now stabilized under the energetic guidance of Jones (vocal), who, with “The End Of Heartache”, had started a new stylistic path. After listening to it all for the first time, A.D.D. leaves a bitter taste, as if one hadn't grasped the nature of each individual track, too charged and powerful to be absorbed at the first listen.

So let's break it all down, piece by piece.

“Daylight Dies”
Immense overture, guitars creating riffs like strings (often found in other tracks), drums defining the song's structure, vocal session partly choral (Adam & Howard) with interesting interludes and elsewhere a sustained shout with growling at the extremes, often filtered with a 'distortion'. Excellent first piece.

“This is Absolution”
Accelerated rhythm, the second ranked (but only in listening order), aggressive passages typical of the previous album and with softer sections assigned to Adam, who finds more space for expression in many other tracks as well. Well-deserved. The formula is the same as always: first extreme shouting, then soft vocals. The chorus is catchy, overall there's careful execution, guitars much more "ample", meaning they fill more of the background sonic space providing the piece with substance. This formula is typical of A.D.D.

“The Arms of Sorrow”
Very catchy track, Howard performs in a purely clean vocal part, yelling left to Adam. In the style of the track “The End Of Heartache”, but more vivid, with a more loaded rhythm. Guitars dominate, charged and always sustained. Very good, it sticks in your mind right away.

“Unbroken”
Very strong track, typical hardcore KSE style, with the now established trademarks such as extreme-vocal vs. soft-vocal. Perhaps a bit monotonous compared to the previous ones, there aren't any passages that distinguish it in a rushing momentum (curious use of toms, not yet experimented in previous works); placing it in fourth makes it privileged but perhaps it should have been towards the second half. Decent.

“My curse”
Quintessential single of this LP. Extreme shouts at the start, bordering on inhuman. Overwhelming rhythm, guitars in a continuous round filling the whole song. Adam is furious, notable bursts of microphone rage, Howard excellently raises the track’s tone. Four minutes that penetrate deep. Splendid.

“For You”
Very loaded track. Drumming gives the rhythm, guitars follow, vocal passages always alternating between soft-growling. Snare drum pedal makes breaks between verses, assigning a great rhythm kept alive by Adam-Joel duo. We find that guitar filling, of just a few seconds, which as previously said creates a filling effect, cushioning the piece’s core.

“My Heart Still Beats Your Name”
Pure, hardcore piece. Racing guitars and a chorus distinctly contrasting in slowness to the track’s overall speed. Adam is present with small very soft parts that provide that otherness typical of the previous LP’s tracks. Beautiful piece all the way to the end.

“Eye of the Storm”
In the line of the previous one, it remains lighter in certain respects. There is a greater presence of melodic moments, high guitar chords with following voice. The bass makes itself heard halfway through, usually left somewhat too far back here it enriches the track. Approved.

“Break the silence”
Guitars and drums define the guidelines, the voice creates the surface. Maybe the track doesn’t lift, remaining anchored to the initial incipit. Nice chorus with the exchange between Howard and an ethereal (in voice) Adam. Also resumption of “filling riffs” towards the conclusion. We can feel that we are towards the album’s end. A bit repetitive, although the chorus is not bad. In the end, we must break the silence, and we are alive.

“Desperate Times”
Cadenced start, evolving into aggressive shouts with background guitars following the evolution. It is in this track that we find an imposing filling that gives body, restores solidity, almost becoming annoying. Foley (drums) assigns a determined but not fast rhythm. In the last minute, a slow progression is followed by the resumption of an almost annoying riff (the famous filling) with shouted follow-up. Very beautiful conclusion, perhaps worthy of a final track.

“Reject Yourself”
Noteworthy is a very thrashy riff by Adam, continuing in evolutions throughout the track. Howard’s voice more open interrupted by frightening instrumental accelerations. Adam has more space also on the vocal side, both as choral and soloist. Appreciate a monstrous shout ten seconds into the third minute of the track. Nice closing piece, calming in the last minute leaving room for a bit of instrumentality. Album is definitely depleted.

IN SUMMARY.

The salient aspects of the entire work are distinguished in a technical maturation for all band members. The praise goes both to Howard, matured vocally and well-suited for continuous passages between breathtaking shouts and catchy melodic tunes, and to Adam, who, besides having more space for expression vocally, provides greater completeness to the album. The KSE signature is evident, solid, this work proved it.

It must be acknowledged that they perfectly balance melody with unleashed rage, mixing it all in a great hardcore style. They still have much to express, we will hear it.

Howard, Adam, Joel, Justin, Mike: passed with flying colors. 9/10