That aside, I am quickly becoming a fan of End Of All, but maybe that is because I am sick for music like this. When I first heard Paradise Burning -- technically the band’s third release -- I immediately thought back to when I first heard December’s Praying… Hoping… Nothing back in 1999. That was a bout of merciless, grinding, hardcore-influenced death metal and this is much in the same vein. Don’t get me wrong. A lot of End Of All’s sound is definitely borrowed, but they put it together quite well. The trio of bands I likened them to earlier is a very good indication of what this talented group sounds like, so if you like any or all of those bands, you owe it to yourself to check out this band. Oh, just for a shock or surprise to all you death metalheads, there are almost blue-grass breaks in song #7 (“I Never Said It Would End Like This”) that are followed by thick Ted Nugent-like grooves. Commenting on production is easy as this was very well put together. All levels of percussion are clearly discernible, which is not always easy to do, particularly with this type of music. The vocals are well done, not being too powerful but still very crisp. The guitar work is great although the leads sometimes sound a bit high in the mix. Also, while the bass is mostly relegated to the background, there are some moments where Terry Butler-styled patterns emerge.

The harmonized guitars that open “This is Where It Ends” hearken back to Iron Maiden if they were possessed by the evil (un)dead. Excellent, chunky riffing underneath clean tones lead into what could be a ‘single’ if such a market really existed for metal. This song is easily the band’s most varied as it has stop and start riffs and harmonized leads coupled with thunderous drums that bash away maniacally and then the song slows to where it sounds like it’s over only to shred away again. Killer. “Modern Ways of Living” follows this track and the band loses some steam and even originality with the clean vocals that are present near its end. At least these clean vocals were recorded unlike so many other Shadows Fall and Killswitch Engage clones. In fact, I liken them to the voice of Vision of Disorder’s singer, but not as off-key. “Lost in Translation” could display the singular heaviest moment in the history of the slide guitar. I like different sounds and this one is killer. This track also boasts the most subterranean guttural vocals on the album accompanied by some truly sick music. ‘Tis a shame it is so short, really. Lucky track 13 is an exercise in percussive riffing with matching vocals that are preceded by a few rounds of seemingly misplaced Red Hot Chili Peppers-styled strumming. Thankfully the RHCP part of the song is brief.

Regardless of this pair of “indiscretions” (e.g. the clean vocals and RHCPisms), this is a really solid album that thrashes, moshes, slams, and shreds its way from start to finish, even if there is an almost 4 minute gap of nothingness prior to the ‘hidden’ track that has no name but some killer Kirk Hammett-by-way-of-Dimebag influenced leads [before the former went lame] with almost Ozzy-sounding, Helmet-styled vocals admonishing the delivery of cabeza. Funny stuff, guys. Just take your ass to the Venge Records website and spend a measly $5 to support a band that rightfully deserves more attention. I mean, c’mon. That’s FIVE freakin’ dollars for a full length CD. Just do it. Oh, they also have shirts for a paltry $8 each at the label’s site [for whatever reason, they’re $10 at the band’s site]. In a word: killer.

Alex Royal – drums
Tommy Church – guitars/basses
Brandon Hamby – guitars/basses
Will Jackson –vocals

written by Tony Belcher

Playing time: 41.33