CD REVIEW The Fallen Within

Band: The Fallen Within
Title: The Day You Died Inside
Label: Noiseheadrecords
Distribution: Noiseheadrecords
Release date: 05/10/2012
Review: CD

Greek outfit The Fallen Within were formed almost ten years ago in the Athens region. During the first half of last decade, the band recorded two demonstrational recordings, yet it took until 2009 to record and to release the first official full length. This album was called Intoxicated and got released through Italian label Coroner Records.

Earlier this year, The Fallen Within signed to Noiseheadrecords and they did finish their sophomore album, The Day You Died Inside. The album was recorded again at the Sound Symmetry Studio, as well as at Devasoundz, under guidance of some well-known names: Fotis Bernardo (Nightrage, Overlord, Septic Flesh), Bob Katsionis (Firewind, Zion, Fatal Morgana, Imaginary, Outloud etc.) and Thimios Krikos (Innerwish). The result was finally mixed and mastered at Lambesis Studio by Daniel Castleman (Winds Of Plague, The Bridal Procession, Molotov Solution, As I Lay Dying, Sworn Enemy a.o.).

The Day You Died Inside lasts for forty minutes and simply continues the path once given a start. This means that The Fallen Within still combine modern Metalcore with lots of Electronics. The Metalcore-part is the one that interacts in between catchy Death / Thrash-alike power and a clean, emotional Rock – Metal hybrid. Yes, of course it comes with all evident and obliged elements: the varying vocals (grunts and screams versus clean ones), harsh rhythms and melodic leads, etc. And every detail sounds ‘like it must sound’. This means: properly performed, yet lacking of boldness. And honestly, the vocals, especially the ‘clean’ ones, do irritate me. Besides, the whole does sound enormously predictable, for this band focuses on safety rather than daring. However, some of the heavier parts (and believe me, there are plenty pieces that make your head bang spontaneously) smash any commercial identity down, at least for a fragmented section. And in contrast to the would-be grooves or semi-emotional Pop-melodies, it is a welcome relief. The electronics added into the entirety give the songs that extra-dimensional, somewhat spacy character, but does it not sound too infantine, even silly? I think it does. Finally, the production. Seen the cast (see the second paragraph), it is not a surprise the whole indeed sounds rather sterile and polished. It fits to such a modern, 21st-century effort for sure.

Recommended for fans of stuff à la Unearth, At All Cost, In Flames or Still Remains.


Ivan Tibos.