Deathcore as a genre is something that has been done to death, reaching its zenith in the mid-2000s with bands such as Job For A Cowboy, Whitechapel, and Carnifex, so to create a band within this genre is almost a risk few should make. In the case of Alabama’s Widowmaker, however, this seems to have been pulled off successfully.
The use of two guitarists within this band’s locker certainly helps them to stand out from the pack, with Tyler Stansell and Hagan Dickerson coming out on their debut self-titled album’s first track ‘The Nihilist’, with dual guitar lines that could rival most death metal acts and a latter crunch on the song that matches their hardcore roots perfectly.
Vocalist Mike Childers also stands out on this record perfectly, especially on ‘Paragon’, with the song starting with a Jamey Jasta type metalcore shout before giving the death metal laden inspired vocals throughout the rest of the track.
The bass is also a prominent feature across the record, with Sean Landman playing a perfectly heavy line on songs such as ‘Regression’, giving the accompanying spiralling guitar line something to bounce off whilst the song goes into a sickening pace. Give this album to the casual listener of the genre, and his ability is something that is likely to make fans stick with Widowmaker.
Kurtis Stoneking‘s drum work sounds great across the record, varying from blastbeats on tracks such as ‘Paragon’ to a steadier beat on ‘Quarantine’; they’re always nothing but heavy, which works perfectly within the band’s favour, emitting pure ferocity from start-to-finish.
Sadly, ‘Widowmaker’ is likely to be an album that will get lost to most media attention, and one that’s going to be seen by many as a new band joining a dying genre. This couldn’t be further from the truth. With pure intensity and enough forward-thinking, this might be a diamond in the rough, with the band reaching higher acclaim on further albums.
Written by Bradley Cassidy (@bradcassidy170)