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It’s a very fragile line to walk incorporating dance music with the metal genre; it can either accentuate the music befittingly ultimately co-operating with the heavy sounds to create something original and memorable. Or on the other hand be completely inappropriate, overused, clichéd and vulgar, prime examples including these horrid outfits: Woe, Is Me, Abandon All Ships and Attack Attack! amongst others. For Japanese entrepreneurs of this fusion Crossfaith, in reference to their third full-length Apocalyze they have accomplished the first prospect and very respectably.

Thankfully this isn’t an LP encompassing a breakdown overload with synth keys filtered throughout inaptly, far from it. This is a versatile metal record showcasing the quintet’s influences in humble admiration on their behalf and to be honest quite brilliantly. Whether it is the dub-step manipulations of the tracks: The Evolution and We Are The Future (avoid a Skrillex reference here), the trance/house persuasion of Scarlett (with astonishing guest vocals from Bianca Roman), the party-informed lead single Eclipse, or the nearing nu-metal rap intro (a Limp Bizkit assumption is welcome) of Gala Hala this is an astoundingly versatile record and a saviour to the fusion of the genres.

Countdown To Hell is the standout which evokes recently defunct Californian outfit Bleeding Through, arguably the best synth metalcore band to exist, extremely competently; it could easily have fit on one of their most recent albums. Notably where the talent really shines through is with the guitar solo on Burning White which fooled this scribe into believing Slash had donated his talents to Apocalyze, but I was mistaken rather excitedly I must add.

In approaching this record, firstly forget every disappointment of a band mentioned previously in this review, then pour a few shots of Jägermeister (Crossfaith are frightfully obsessed with this purple poison), a chaser of whatever tickles the fancy of the listener and put on the party hat, this is one hell of a ride.

Released through Halfcut Records.

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