Whitechapel's ninth studio album Hymns in Dissonance sees the Tennessee deathcore titans returning to their heavier roots, delivering an unrelenting, brutal listening experience. After experimenting with melody and progressive inclinations on The Valley and Kin, the band has once again taken up their more brutal inclinations. However - this is far from a step backward, it actually comes a huge leap forward that merges their trademark ferocity with the more subtle song writing they've honed over the years. A perfect merging of the band's unrelenting aggression and newfound nuance, this album is undoubtedly Whitechapel at their most brutally brilliant.
From the beginning of Hymns in Dissonance, it’s apparent that Whitechapel have recaptured the unrelenting violence of their past sound. Opener ‘Prisoner 666’ sets an ominous tone with a foreboding guitar lead before plunging into a frenzy of blast beats, dissonant riffs, and Phil Bozeman’s distinctive guttural vocals. His performance is as venomous as ever, switching between deep growls and his signature mid-range snarl. The song’s lyrical themes of both physical and psychological confinement help to reinforce the album’s overall atmosphere of bleakness. The repetition of “I bear the number 666” is particularly chilling, making for an instant standout moment.
The title track only helps to further cement the album’s uncompromising demeanour. Through a dizzying exhibition of guitar techniques, topped off with some brutal chugging breakdowns, the song demonstrates the precision of guitarists Ben Savage, Alex Wade, and Zach Householder. The band’s use of shifting tunings between drop G and drop F adds a layer of crushing heaviness, perfect for Bozeman’s visceral storytelling. Lyrically, the song deals with cultism and blind followership, providing an additional layer of darkness to the already suffocating soundscape.
‘Diabolic Slumber’ introduces an unsettling atmosphere before plunging into a maelstrom of tightly coiled aggression. The song’s composition is particularly interesting, contrasting moments of unnerving quiet with total sonic annihilation. The breakdowns are nothing short of monolithic, re-establishing Whitechapel’s position as one of the heaviest bands in modern deathcore. Bruising, technical, and downright merciless are the three things you most want to see from a band of this genre, and they've got all three ticked. Bozeman’s vocal range is put to good use, switching seamlessly between his cavernous lows and more raw, mid-range roars. The song’s thematic focus on sloth, one of the seven deadly sins, ties into the album’s broader exploration of human depravity.
Tracks ‘A Visceral Retch’, ‘Hate Cult Ritual’, and ‘Mammoth God’ find Whitechapel truly at their most brutal. These songs call back to the band’s first releases, bringing back their relentless blast beats, palm-muted riffing, and crushing atmosphere. What makes these songs so compelling though, is that they refuse to rely on outright brutality as a crutch. The band incorporates subtle melodic undercurrents, adding depth without diluting the heaviness of their sound. Few bands can counterbalance sheer brutality with dynamic, engaging songwriting in the same way that Whitechapel do on Hymns In Dissonance. One of the highlights of the album is ‘Ex Infernis’, a track that briefly detours from the all-out assault to create something more atmospheric. The creepy vibe and layered guitars on the track provide a moment of respite, though the sense of tension never truly dissipates. It’s a testament to Whitechapel’s ability to build tension without sacrificing their signature intensity.
Whitechapel's rhythm section deserves particular praise on Hymns in Dissonance. The bass can be the thing that truly makes or breaks an album, particularly when competing with three guitars on each track, and Gabe Crisp delivers an ground-shaking low end that underpins every song. Drummer Alex Rudinger delivers a technically flawless yet utterly devastating performance. His precision behind the kit, particularly on his breakneck double bass runs, means that the album is never stagnant or plodding.
Lyrically, the album walks the grounds of internal anguish, religious disillusionment, and existential terror with both ease and finesse. Bozeman remains one of the most compelling lyricists, not just in deathcore, but in modern metal overall, and his vivid imagery only works to enhance each song’s tension. His ability to convey raw emotion, be it through guttural lows or unsettling spoken-word passages, renders Hymns in Dissonance all the more captivating.
The production, helmed by Zach Householder, is impeccable. Every instrument is given enough space in the mix for the album's layered compositions to breathe, even while they maintain their crushing impact. The guitars slice like a knife, the drums pound like a hammer, and Bozeman's vocals are placed just so in the midst of the sonic maelstrom. Too often deathcore can come across as messy, however Whitechapel have consistently set the guide for how to navigate the genre perfectly and create something that feels clean and polished without compromising on brutality.
As heavy as Hymns in Dissonance certainly is, it never feels one-dimensional. Whitechapel have succeeded in balancing the deathcore brutality of their older material with the more advanced songwriting skills they’ve developed on their last few albums. What we’re left with is an album that’s somehow both nostalgic and forward-thinking.
In summary, Hymns in Dissonance is a huge success for Whitechapel. They’ve reasserted their dominance with this record, a vicious, uncompromising, and masterfully crafted return to their heaviest roots. Long-time fans will appreciate the return to their heavier inclinations, and newer fans will have plenty to sink their teeth into. Vicious, relentless, and masterfully crafted, this is one of the band’s strongest releases to date.
Score: 8/10
Hymns in Dissonance will be released on March 7th 2025 via Metal Blade Records.
Words: Vee Richardson
Photo: Alex Morgan
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