Suicide Silence - Suicide Silence album review

Californian deathcore crew take a left turn

Suicide Silence: branching out

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There’s an argument to be had that over the last decade Suicide Silence have been the most continually improved and consistent metal band around. The way they seamlessly transitioned through the tragic passing of Mitch Lucker by adding the inhuman vocal prowess of Eddie Hermida on 2014’s You Can’t Stop Me was mightily impressive. So it’s bewildering that the band have taken such a drastic leap into the unknown on Suicide Silence.

Opener Doris is full of lo-fi production from nu metal super-producer Ross Robinson and melodic vocal ticks that must have seemed like a much better idea on paper than the recorded version we hear. It’s no one-off either, with the majority of the record owing much to the downtuned thud and pained vocal styling so reminiscent of the late 90s. It might work for Cane Hill, but Suicide Silence have always been worth more than just paying lip service to the past. There are moments where it works – the screaming guitar solo in Listen, Eddie’s super-aggressive delivery on Conformity and all of the excellent Silence – but these are slim pickings. Whilst the idea that Suicide Silence have tried something new is to be applauded, this should be filed alongside Lulu and Diabolus In Musica in the list of great missteps in metal.

Stephen Hill

Since blagging his way onto the Hammer team a decade ago, Stephen has written countless features and reviews for the magazine, usually specialising in punk, hardcore and 90s metal, and still holds out the faint hope of one day getting his beloved U2 into the pages of the mag. He also regularly spouts his opinions on the Metal Hammer Podcast.