ALBUM: Crossfaith – Apocalyze

Release Date: September 9th, 2013
Label: Search & Destroy Records


Although commonplace for much longer than most realise, the collision of electronica and heavier territories has taken a recent upsurge in popularity, with a generation of forward thinking newcomers striving to blur the lines as drastically as the last. The arrival of Japanese trailblazers Crossfaith certainly grasps the pinnacle of the movement, their already legendary live show garnering a hype which is proved utterly justified in the flawless amalgam that is ‘Apocalyze’.

What sets this Osaka quintet apart is their steadfast commitment to both ends of the spectrum. ‘Countdown To Hell’ is as savagely violent as any of metal’s current heavyhitters, and ‘We Are The Future’ sizzles with some white hot riff work and blast beat venom, yet ‘Eclipse’ forms itself around a colossal synth hook, and ‘Gala Hala (Burn Down The Floor)’ is all Linkin Park-esque turn table scratching. Every aspect comes across as thoroughly current, and it’s a refusal to compromise on their craft which sees this third full-length offering retain both a rampant heaviosity and thunderous, The Prodigy sized tunefulness.

It’s absurdly exciting stuff, and the fact remains that whether we’re raving or rocking we are wholly engrossed by what are quite simply twelve scintillatingly put together tracks, the band confirming to have reinvented the genre by a severe upping of their songwriting game. Indeed, this is summed up rather expressly in the progression laden ‘Scarlett’, which morphs from depth charge dub drops, swirling aggression and some beauteously executed female vocal strains.

‘Apocalyze’ has undoubtedly raised the bar exceedingly high, and it wouldn’t be unfair to view their position on the metalcore heap rather insurmountable. Seeing these songs come into their own in a live setting is a mouth watering prospect, although it would be wise for venues to re-enforce their foundations now before it’s too late. ‘We Are The Future’ indeed.

Written by Tony Bliss