Describing themselves as alternative metal, Words that Burn initially appear to have tapped into the same well of inspiration that fueled early In Flames, neatly entwining melody and harsh riffage in one compelling package. However, deeper inspection reveals myriad influences, with hints of a glacial, industrial sound and a touch of nu-metal grind added to power a set of ten songs that blaze brightly with the fire of inspiration. Hailing from Ireland, Words that Burn had already made a reputation for themselves via their well-received debut album ‘Praey’ when they signed with WormHoleDeath Records for the production and distribution of their sophomore effort, ‘Regret is for the dead’, and the added anticipation of a label release clearly fired the band’s creative process, as the album offers up ten blistering songs that capture the attention and refuse to let go until the record’s done.
Kicking off with the pulsing electronica of ‘Our new sin’, the listener’s introduction to Words that Burn can hardly be more visceral. As tightly wound guitars lead the way into the melody-infused verse, Roni Macruairi unleashes his scarred and ferocious vocal and we’re off. Memorable and vital, ‘Our new sin’ is a blistering opening song that pretty much details the Words That burn manifesto over the course of its all-too-short five minute run time. Keeping things devastatingly tight, ‘Unalive’ is the searing follow up, the band neatly switching between a quieter verse that dips into the same gothic sensibilities that inspired the Cure and a crushing chorus that is as brutal as they come. Roni has an impressive voice indeed, and he inhabits the songs with genuine presence and authority, adding greater depth to the band’s compositions. Third track, ‘Disappear’, opens to the sound of stuttering electronica before plunging into the sort of rhythmic nu-metal that the underrated Mudvayne dealt in. With a juddering breakdown that makes you want to headbang until your neck snaps like old porcelain, ‘Disappear’, in a perfect world, should be on radio stations and repeat play everywhere. Put simply, it rules and we dare you to prove otherwise! More melodic, ‘Chalklines’ is an obvious single choice with its instantly hummable melody and razor-sharp riffs whilst the first half of the album concludes with ‘hush’, an echoing moment of calm that builds towards an epic climax that recalls the effervescence of Devin Tonwsend whilst the deft use of synth elements really enhance the track and build an atmosphere that is uniquely the band’s own.
The second half of the album kicks off with the pulsing ‘Scars’ which, with its kick-ass riff and tough vocal, sounds like Alter Bridge on steroids. Keeping the sweeping melody of that band but reinforcing it with a thousand burning guitars and that brutal Roni roar, ‘Scars’ is a potent example of just how wide the appeal of Words The Burn is. Another song that offers some respite, ‘Mirror perfect mannequin’ takes its time to bring down the pain, offering up a verse that is awash with the influence of eighties pop bands before the band slam into view, supercharging the song with sledgehammer riffs and Jason Christy’s powerhouse drumming. A late album highlight, ‘In this moment’ has a dark industrial feel with creeping electronica underlying Roni and Shane Martin’s riffs, although what really captures the attention is a pure pop chorus that requires steam treatment to remove – seriously, you’ll be singing the bugger in the shower for weeks to come. Offering up a primal, grinding riff, ‘the phoenix’ wastes no time grabbing the listener by the throat, although the rage dissipates as the band introduce a more nuanced sound, before the album concludes with the eerie pulse of ‘last breath’, a metal masterclass that sees the album out on a high. With a blistering breakdown, a chorus that stands as one of the finest on the record and a palpable sense of rage, the band succeed in branding the listener with their own unique mark, and there’s no question you’ll be coming back for more once you’ve succumbed to the band’s charms.
Produced, recorded and mixed by Jonathan Mazzeo at MathLab Recording Studio, Italy and mastered by Alan Douches (whose impressive mastering credits include Sepultura, Dillinger Escape Plan, Converge and High on Fire to name but few), ‘Regret is for the dead’ is a state-of-the-art album with a near perfect production job that captures the band’s many elements with pristine clarity. Melodic, but with power and to spare, ‘Regret is for the dead’ is a confident, frequently brutal and always memorable album from a band who are destined for bigger things. 9
