ALL IS BEAUTIFUL… BECAUSE WE'RE DOOMED

If you were expecting We Came As Romans to suddenly abandon the safety net of high-gloss production and swap their synthesised textures for a raw, unvarnished garage assault, you'll be disappointed. Their latest offering, 'ALL IS BEAUTIFUL… BECAUSE WE'RE DOOMED', is a masterclass in the melodic metalcore aesthetic—it's polished to a mirror finish, yet it lacks that jagged, dangerous edge that separates the underground pioneers from the polished product.

From the opening moments of the title track, it's clear where the band's priorities lie. The production is massive, a wall of sound where the synths weave through the guitars like silk ribbons. While the technical proficiency is undeniable, there's a palpable sense of 'safe' songwriting. It's designed for the arena, not the mosh pit; it's crafted to sit perfectly in a high-fidelity playlist, which inherently saps some of the grit out of the heavy moments.

It is a polished, competent slice of modern metalcore that swaps primal fury for a very pretty, very safe brand of desolation.

Moving into 'bad luck' and 'lake of fire', the band leans heavily into the contrast between ethereal melodies and crushing breakdowns. The juxtaposition is well-executed, and for fans of the electronicore subgenre, it will be an easy listen. However, the sheer predictability of the transitions can feel like a checklist of tropes. They hit the 'sad' note, then they hit the 'heavy' note, and they do it with enough proficiency to keep the momentum flowing, even if the spark of originality feels slightly dampened by the sheer perfection of the mix.

'red smoke' and 'one by one' showcase the vocal versatility that has become a hallmark of the band. The transition between soaring, emotive leads and guttural barks is seamless, but one can't help but notice how much of the impact relies on the contrast rather than the sheer shock of the execution. It is high-quality craftsmanship, certainly, but it feels like a refinement of a formula rather than a radical departure from it.

By the time we hit the midpoint with 'culture wound' and 'where did you go?', the album settles into a more atmospheric, moody landscape. These tracks are arguably the strongest for atmosphere, creating a sense of sprawling, melodic doom. Yet, even here, the 'electronic' half of the 'electronicore' equation feels very contemporary—crisp, clean, and perfectly integrated. It's a 'pretty' kind of doom, which is a bit of an oxymoron for the purists who prefer their despair to sound a bit more ragged.

'no rest for the dreamer' and 'b2tm' follow, maintaining the pace with rhythmic precision. The band understands the architecture of a modern metalcore record perfectly. They know exactly when to pull back the curtain for a melodic breather and when to slam the door shut with a crushing, synth-laden weight. It is undeniably effective songwriting, but it is a well-trodden path. There are no surprises here, only high-quality executions of expectations already set by the genre's titans.

As the final stretch approaches with 'circling a dying sun' and 'knowing pain', the scale of the production becomes even more apparent. The transition into 'so lost (burning flowers)' provides a sense of epic finality. The title track, 'BECAUSE WE'RE DOOMED', wraps everything in a package that feels designed for maximum impact. It is a solid, professional piece of work that confirms their status as masters of their specific niche.

Ultimately, 'ALL IS BEAUTIFUL… BECAUSE WE'RE DOOMED' is a victim of its own success. It is a gleaming, impeccably produced record that leaves very little to the imagination. For those who want a polished, melodic experience and don't mind the lack of raw unpredictability, it's a journey well worth taking. For those of us looking for the primal roar of the underground, it's a bit too polite for the occasion. It's a high-functioning piece of metalcore machinery—solid, consistent, and perfectly tailored to its market.