★☆☆☆ TAC are best when they aim for over-the-top detuned mayhem. What you get on this album instead are passages of riffs that are more often tepid rather than dreadful, interspersed with flow-killing bits of maudlin atmosphere, ill-timed tempo changes, and other bad choices.
★☆☆☆ The album opens up with the lyric, “…This is our time/the dawn of a new era.” But the debut from this “supergroup” (featuring Biohazard’s Billy Graziadei, Cypress Hill’s Sen Dog, Fear Factory’s Christian Olde Wolbers, and Downset’s Roy Lozano) is in no way new. In fact, it’s hard to not be cynical about this effort, which is a shame because there are interesting moments strewn about throughout this otherwise pervasive cacophony.
★☆☆☆ This metal supergroup launched a few years back, but forgot to bring much “super” with them. And while I may have been presumptuous to expect more from Mike Portnoy and Russell Allen than what sounds like a better performed version of Disturbed, I did at least give them the benefit of the doubt, and hoped that they’d eventually find firmer footing.
★☆☆☆ The final chapter in a trilogy of blackened death metal albums about World War I, this album features music that feels as dated and overwrought as that description. At times, this feels closer to DETHKLOK than Behemoth.
★☆☆☆ Nu-metalcore through and through. Every formulaic ploy (breakdowns, cleansingings, background keyboards, etc.) falls at least a little short, and the riffs are universally lackluster and tired.
★☆☆☆ Take equal parts Machine Head, King’s X, Soilwork, and Killswitch Engage, and purée them in a blender until all flavor is lost.
★☆☆☆ Everything on this album clashes. The guitar riffs are the only familiarly competent element on the album, and even then they’re hamstrung a bit by the Psalm-69-style mix. The drums and bass are unconvincing. But above all, the vocals are garbage: muddy, uninspired, and distracting. They don’t work when the band are going full-throttle… but then you’ve got stripped down tracks like “The Separation Of Flesh And Bone,” wherein Chris Barnes’ vocals have more room to stink up the place.