Chosen Hell

In the abrasive landscape of contemporary hardcore punk, there is a fine line between calculated intensity and aimless noise. On 'Chosen Hell', Comeback Kid find themselves teetering precariously on that line, often falling into the latter. The album seeks to marry the raw, visceral grit of metal with the frantic urgency of hardcore, yet the execution frequently feels undermined by a lack of cohesive direction. While the production on the SHARPTONE release provides a competent, and at times appropriately harsh, backdrop, the internal dynamics of the compositions are often at odds with one another.

From the opening moments of "Target On My Back", it is evident that the band aims for a high-impact assault. The technical proficiency is present, but it occasionally feels over-engineered for the genre's foundational aesthetics. The rhythmic interplay in the early tracks attempts a sophisticated groove, yet it often loses momentum in its attempt to pivot between hardcore punk and heavier metal flourishes. The transitions are less fluid than they ought to be, creating a disjointed atmosphere where the listener is unsure if the preceding riff was a deliberate choice or a structural lapse.

Complexity without cohesion leads to a jagged, frustrating listening experience.

As we move into "Vindication" and "Shedding Season", the musicality of the band becomes clearer. There are flashes of genuine inspiration in the way the guitarer manages to layer textured distortion over aggressiveer percussive patterns. However, the sheer density of the instrumentation sometimes mutes the emotional core of the songwriting. In 'Chosen Hell'—the title track and a potential centerpiece—the band attempts to build tension through dynamic shifts, but the release of that tension feels anticlimactic due to a predictable structural resolution.

"Lost And Found" and "Underderneath The Pressure" suffer from a similar malaise. Here, the band leans heavily into the 'metal' aspect of their branding, slowing the tempo to allow for more cavernous riffs. While these moments provide a necessary reprieve from the frantic pace of the earlier tracks, the sheer repetition of the melodic motifs becomes tedious. The goal of 'heavy' is to overwhelm, but when it fails to evolve within a single track, it becomes stagnant. The sonic weight is there, but the compositional evolution is stagnant.

The latter half of the record, featuring "Yesterday's Gone" and "Tunnel Vision", sees a shift toward something more atmospheric. This is where the band's technicality shines most, but it is also where their identity feels the most diluted. These tracks move away from the raw energy of hardcore, opting for a more deliberate, almost brooding construction. While the execution is competent, these moments feel like deviations rather than cohesive integrations of their core style.

"Becoming" and "Heartland Elegy" continue this trend, offering a more nuanced, almost cinematic approach to the genre. However, the disparity between these mid-tempo explorations and the high-octane violence of "Target On My Back" creates a disjointed listening experience. The album feels like two different bands attempting to occupy the same space; one seeking the visceral rush of the pit, the other searching for the depth of heavy metal's sonic architecture.

Finally, "Too Late" brings the record to a grinding halt. It serves as a definitive closing statement, but it underscores the primary issue of 'Chosen Hell': it is a collection of competent pieces that struggle to coalesce into a singular, unified statement. The performances are technically proficient and the production is clear, but the overarching structure feels fractured by the band's own internal contradictions.",