Whitechapel
This Is Exile

Unfortunately, in recent years, the incredible explosion of extreme metal bands on sites like Myspace seems unstoppable. Among these, very few deserve to be listened to and appreciated: Whitechapel is one of them. The group's name comes from the London district of Whitechapel, where legend has it that Jack the Ripper committed his crimes.
Led by frontman Phil Bozeman, the band manages to showcase their skills both in the studio and live.

The group hailing from Knoxville, Tennessee (U.S.A.), released their first studio album in 2007, "The Somatic Defilement", under the small label Candlelight Records. Almost exactly a year later, under contract with Metal Blade, their second album came to life: "This Is Exile"; thanks also to the sonic wall of the triple guitar and the great drumming work, the group delivers 11 tracks of pure hardcore violence fused with the technicalities of modern death metal. This was followed by a headlining tour with Impending Doom, A Different Breed Of Killer, and Through The Eyes Of The Dead and, moreover, they participated in the Never Say Die! tour alongside Parkway Drive and Unearth.

Let's now move on to the track-by-track of the album:

1 - Father Of Lies - 4:04

A long growl from Phil opens the proceedings of what seems, from the first seconds, to be an album with a punch. The first fast scream verse gives way to a brief melodic interlude with an attempt at a central solo, then moves to a harder riff and then to a breakdown that continues until the end of the track dissolves. The songwriting is inspired by the world of lies that surrounds us. A magnificent opening.

2 - This Is Exile - 3:40

The title track opens with an incredibly heavy verse where Phil Bozeman sounds like he doesn't breathe between phrases, and the guitars do exemplary work. It then continues with a more moderate part almost entirely in growl and a fast but brief breakdown that ends with a very long growl. Another very fast verse follows with very high guitars and phrases in growl alternated with violent screams. The song concludes with the best breakdown of the album and with the scream phrase: "...and you're totally fuckin dead!”

P.S. For this song, the band also recorded their first video.
P.P.S. It’s the best of the album.

3 - Possession - 5:04

The third track kicks off with guitars immediately becoming powerful, but just after giving a moment of respite. The phrases after are an alternation of rather technical parts for guitars and drums, and simpler parts with vocals in growl. About halfway through the track, the phrase "We Are The Disease!" booms in the speakers with Phil's guttural and powerful growl, which gives way to a constantly repeated guitar phrase until the end.

4 - To All That Are Dead - 3:38

Even in the fourth track, guitars dominate, wonderfully alternating more technical and simple but powerful parts.
About halfway through the song, after a nice breakdown, there's a fast solo over a very simple base of a few chords. Finally, the track concludes with a phrase where the double bass drum is used sublimely.

5 - Exalt - 3:06

In the fifth track, for the first minute, two phrases alternate: one in growl (the initial one) with a death metal stamp, while the second, higher, in scream. At this point, there's a very nice ten-second breakdown, which immediately gives way to the second verse that alternates two phrases again; twice. About halfway through the track, the double bass becomes commanding on a very simple guitar base, on which they insert a strange solo.
There is still room for a short phrase, then leaves space for the same breakdown from the first minute, which repeats until the end of the track.

6 - Somatically Incorrect - 3:11

The sixth track starts with Phil's growl with a nice slow and powerful breakdown as the base. Until the first minute, things don't change: the drums dominate and the guitars are just heavy enough. A quieter part then follows and a breakdown that starts very fast, with drums at 1000; but then it transforms into a slower and more massive one and then fast again.
The final part is a true Inferno: growl inserted between phrases in scream and alternations of high and low phrases.

7 - Death Becomes Him - 3:19

The seventh track is the first instrumental of the album. It begins with an arpeggio that continues until the first 40 seconds of the track, but is covered by the other guitars and their phrases. Two-thirds into the track, guitars and drums begin to dissolve, leaving space for a very strange closure, where you hear strange sounds.

8 - Daemon (The Procreated) - 3:13

After a gradual entry of guitars, in the eighth track a phrase takes place in which one guitar plays a distorted melody, and the other two a nice single-string breakdown. At about a minute, a darker part (vaguely black metal) begins, always featuring the powerful growl of the frontman.
A series of very fast phrases with a drum that opens the eyes in amazement follows. The track concludes with the phrase "This Is The End Of All The World!" based on a very hard breakdown.

9 - Eternal Refuge - 3:42

A very long growl opens the ninth track, followed by a phrase that ends with a nice neck-breaking breakdown. In the next phrase, the work behind the skins is truly remarkable, and Phil's voice, whether in growl or scream, dominates undisputedly; in the last minute, the growl vocal is accompanied by rhythmic and very heavy guitars that make the song one of the best on the album.

10 - Of Legions - 2:44

An almost theatrical opening for the tenth track of the album, which is also the second instrumental piece. A breakdown destined to last almost the entire track then begins. In the last 20 seconds, another very strange part serves to open the last track of the album. We are almost at the end.

11 - Messiahbolical - 7:23

On the last strange sounds of "Of Legions" enters the last piece of this rich tracklist: "Messiahbolical".
It's the most complex piece of the entire album: in the first half, all the band's brutality comes out; absurd riffs, insane growl and screams, and even on a couple of occasions, the presence of a choir of voices. In the second half, the rhythms slow down and only in the final 50 seconds does Phil's growl return on a closing breakdown and to end it all, a dozen seconds of psychedelic electronic sounds.


It is not a simple album to listen to, but for those who like the genre, some songs from this album cannot be missing from their playlist.

I hope the track-by-track was appreciated,
Until next time!