Review by Cody-James Henderson
It would be no word of a lie to say that Deathcore is at its highest peak of popularity in 2025 and arguably the strongest it’s been since the latter days of the MySpace era. From the days of the basement shows into the underground, Deathcore acts are now sitting upon the likes of Festival Headliners and Multi-Thousand-seater venues. But this is not only reserved for the likes of the newer school acts. For every Lorna Shore, Slaughter to Prevail and Paleface Swiss, there is a Suicide Silence, Chelsea Grin and the undisputed kings of Deathcore, Whitechapel.
The Tennessee giants have been one of the most respected names throughout the Death genre for almost 2 decades. Over their past 2 records the band has experimented with a more conceptual and at times experimental approach to their signature sound with 2019’s The Valley and 2021’s Kin. Although often seen as divisive, these releases truly expanded on what Deathcore could truly be if the boundaries were pushed. But what happens when a band simply decides to say, “Let’s just go and write our heaviest album to date?” that plays as a sequel to 2014’s ‘This is Exile’ whilst combining those conceptual paths? That leads us to the output that is Hymns In Dissonance, Whitechapel’s 9th studio album and first in 4 years. Although not the first band to say “Lets go back to our roots” the statement is often met with criticisms in the Metal genre that the “spark” simply cannot be recaptured, and any attempt is just hearsay. So would Whitechapel fall into the trap of a desperate attempt at glory, or would there be an ungodly exception to the rule of the internet fanbase?
PRISONER 666: From its immediate southern style introduction into a heretic “I bear the number 666” you would be forgiven for ever doubting the bands ability to write something that is just pure Deathcore. Vocalist Phil Bozemann who did most of the writing of the album including the guitar work shows how age means nothing if you maintain the craft. Its cultist themes are only amplified by Bozemanns ability to display a full vocal array so fiendish you picture a hellscape of pure disarray. Drummer ‘Brandon Zackey’ fits into the helm of recording his first album with the band since joining in 2022, his pure ferocity echoes the sentiment of being right at home. An almighty opener that seamlessly transitions into the upcoming title track with a heinous and vile reversing of satanic wisdom.
HYMNS IN DISSONANCE: The title track of the album proceeds to punch you so square in the jaw you may need to wire it shut for the following 5 minutes to prevent you continuously picking it up from the floor. For lack of a better term, this is Whitechapel at their most vile, most disgusting, fear inducing best. Pure. Fucking. Filth. Met with nothing but praise from the most elitist of Metal fans, this title track sits upon the inverted cross as the most bone crushing song the band has released in the last decade. 10 years on and we still sing the praise of ‘The Saw is the Law’, this gory, thematic, tempo swapping masterpiece could be regarded as one of the bands best.
DIABOLIC SLUMBER: What begins sounding almost anthemic, the likes of ‘A Bloodsoaked Symphony’ from the bands previous album Kin it quickly trapdoors you into the lowest of lows that I mean with the highest of praise. The clarity of pure hatred sees Bozemann emphatically scream “Fuck them all, let them all die” before breaking down into a low tempo beating of the senses. If there is a god, you won’t find him here. This cult journey has recruited its truest believer. ‘Diabolic Slumber’ is not a track to sleep on at all, but Diabolic? Well, that’s a slight understatement to say the least.
A VISCERAL WRETCH: Like rats flooding from the bottom of a sinking ship to save their skin, the masses of old school Deathcore fans were awoken to the first taste of Whitechapels new material in late 2024. ‘A Visceral Wretch’ grasps you within mere seconds as something almost reminiscent of the bands earliest material. The chugging between the trio of Savage, Wade and Householder churn through this 4-minute epic that drops to the lowest tunings the Knoxville natives have ever used. The only thing that could be lower is the filthy, disgusting, grossed out faced you will make in the dying seconds of this track. This track has put the entire genre on notice.
EX INFERNIS: This interlude gives the listener one minute to catch their breath before the oncoming onslaught, but it slots right into the story being told so far. War drums combined with throat singing and an eerie sensation will keep you on your toes however.
HATE CULT RITUAL: Transitioning in from the Ex Infernus with an almighty chant of “We hunt, we kill, we feat, we conquer” it is straight back into hell with ‘Hate Cult Ritual’. Continuing with reversed passages that thematically summon the portals for this story’s protagonist, the imagery of the lyrical points is second to none. It is bleak, fire laden, embrace of darkness will unsettle and captivate you. It is the audio equivalent of the found footage horror film genre. Even after 2 Decades, the clarity in Bozemanns voice needs to be studied. Even at his most guttural you can still make out the sadistic themes as a wholehearted “We mock, burn and spit on the cross” leads you into dangerous headbanging territory. Tread with caution but clinch the hate.
THE ABYSMAL GOSPEL: Split the seas of the moshpit when you hear this one live, its time to wreak havoc. Even before the vocals kick in you know exactly what is coming with ‘The Abysmal Gospel’. Lead guitar lines scream like banshees. And by the time you’ve started stomping around your living room you’re throwing yourself into a circle pit for this fast pace aggressive fit. Its pure Deathcore. What more could you possibly want? It doesn’t reinvent the wheel in anyway, only further advances the original product. It serves its purpose with a mouth full of hate.
BEDLAM: If there was a song that truly sounded like it belonged on its prequel ‘This Is Exile’ its without a doubt ‘Bedlam’. This 3-minute asylum locks you in and refuses to let go until you scream. It interrogates you to spill your guts, tapping into those almost bouncing djent-esque riffs similar to that of ‘The Saw is the Law’ but presented in a whole new psychotic way. Much like its predecessor ‘Abysmal Gospel’, this is just unfiltered Deathcore remastered into a new level of hate the likes of which are almost unseen in the Deathcore of the 2020s. A testament to the legacy that Whitechapel has created, the story is reaching a level of heinous atrocity to culminate in the final act.
MAMMOTH GOD: If later day Whitechapel records are your favourite musically, then ‘Mammoth God’ is going to be the track for you. It still holds its Deathcore Elements but is presented more like that of a track from The Valley. Its composition feels more of a theatrical score then that of a traditional Deathcore song but that is by no means a bad thing. Will this be the track you replay the most if brutality is only what you’re looking for? Possibly not, but it serves as a statement to the musical abilities and songwriting that have helped Whitechapel remain such a prominent force in Metal. It may be divisive, but it keeps the listening experience fresh.
NOTHING IS COMING FOR ANY OF US: And straight back into mayhem for the albums finale. By far the most fatal of the lyrical matters, its imagery is that of torturous blows and the same can be said about the mid song breakdown. Bozemanns pushes his voice as high and low as it can go to drive home just how ballistic the life of devotion can be. It encompasses 2 decades worth of brutality in this 6 minute burial. From its gritty beginning to its anthemic, solo filled end, ‘Nothing is coming for any of us’ serves a sincere career spanning finale to an album that captures the band at their absolute best.
The fans fear of Whitechapels more melodical approaches on previous records need not be deterred. Hymns of Dissonance isn’t just Whitechapel at their very best, beyond a shadow of doubt this is the bands best collection of work. Ever. I could try and poke holes or look for flaws under the magnifying glass, but I would only be lying to myself and all of you. Its pure, unadulterated, fear inducing Deathcore. It’s the ultimate return to form that was never lost. It’s the benchmark not just for 2025, but for entire decade. Flawless doesn’t even touch the side of the murderous hell that spans 43 minutes.
Follow in line or blind. Either way, this is will be the toughest album to beat for 2025.
