Hatebreed Albums (7)
What The Critics Say
A mere four months after the release of a covers album, For the Lions, New Haven's Hatebreed offers their first truly new album in three years. This self-titled offering, the band's fifth, is the first outing to feature both new guitarists -- Frank Novinec, who joined in 2006, and newcomer Wayne Lozinak. In addition, drummer Matt Byrne replaced original skin man Rigg Ross, making vocalist Jamey Jasta and bassist Chris Beattie the only two founding members. Despite the new members, the sound is crafted around almost exactly the same formula that has made the band such a sought-after attraction on the metalcore circuit. In the summer of 2009,they shared stages all over the world with Slipknot, Slayer, and Korn, as well as having preferred lineup spots in many music festivals. With this CD, faster, downtuned hardcore is melded to slower, more decidedly doom-laden death metal moments -- check the surprisingly retro but utterly killer instrumental "Undiminished" -- all played with extreme technical flare, stop-and-start cadences and call-and-response choruses. The rest of these 15 tracks range from headbanging anthems such as the opener, "Become the Fuse," to Hatebreed's trademark, bone-cracking heaviness in "Everyone Bleeds Now," and pummeling riff-laden hardcore in "Merciless Tide." As a bonus, there is an edit of "Escape" tacked on at the end of the set. ~ Thom Jurek, All Music Guide
'For the Lions'
Release Date 1/1/2009
Tracks 18
Label Century Media Records
See Album Tracklist and Review
What The Critics Say
The terms metalcore, hardcore, punk metal, and death metal have all been applied at one time or another to New Haven, CT-based Hatebreed, but it was a shared love of all things punk rock that served as the impetus for the band's inception in the early '90s. That's not to say that the 18 covers that make up For the Lions are tapped squarely from the vein of punk history, but at least they finally got around to covering the classic Misfits song from which they derived their name. Like an LP version of Metallica's 1987 $5.98 E.P.: Garage Days Re-Revisited, For the Lions is a love letter to the bands and songs that inspired the group, which means that all of the previously mentioned genres are more or less represented. The band sounds the most engaged on the early hardcore numbers like "Suicidal Maniac" (Suicidal Tendencies), "Thirsty and Miserable" (Black Flag), and "It's the Limit" (Cro-Mags), while nods to the metal gods such as "Ghosts of War" (Slayer) and "Escape" (Metallica) are blistering and volatile enough to warrant inclusion, but feel a little rote. ~ James Christopher Monger, All Music Guide
What The Critics Say
It's nearly impossible to judge Supremacy -- or any other Hatebreed record for that matter -- outside of the monotone world that the brutal Connecticut metal quintet inhabit. All of their songs clock in at under three-and-a-half minutes, rarely deviate from one or two keys, and rely on lead singer Jamey Jasta's one-note megaphone of a voice to deliver the bullets. This insular approach to writing and recording pretty much works every time -- this is metalcore -- especially on the blistering opening track "Defeatist," "To the Threshold," and "Divine Judgment," but after four albums, even the hint of a melody line or a midtempo breakdown would break through the ether like a lighthouse in a Nor'easter. ~ James Christopher Monger, All Music Guide
'The Rise of Brutality'
Release Date 10/27/2003
Tracks 12
Label Roadrunner
See Album Tracklist and Review
What The Critics Say
Crowd reaction and participation have always been hallmarks of the hardcore and thrash genres. It's probably the ultimate goal of any music to entertain, to illicit some kind of response from the listener. But within these enclaves -- especially hardcore -- the musicians can become mouthpieces for the mob, their songs vessels for carrying a collective meaning. While that conduit's energy has been sapped somewhat by shifting allegiances and new influences both in and outside of loud rock, it's remained one of Hatebreed's guiding principles. This has never been more apparent than with Rise of Brutality, the quartet's rapid-fire follow-up to 2002's Perseverance. There are no nods to melodic sensibility here, no cloying string sections or "Let me hear you say" hip-hop flourishes. No, shouter Jamey Jasta and his band have turned in 32 minutes of hard, visceral music that knocks the chip off your shoulder so that it might scream louder in your ear. Songs seem specially designed to incite the crowd -- the choruses of "Tear It Down" and "This Is Now" establish a call and response. Lyrics begin with actionable words, and end with emphatic periods. "Strength, to deny you," Jasta chants over the manic, death metal-ish "Confide in No One." "Trust, in my instincts/Breath, when I'm drowning/Life, when I must rise again." Musically, Rise of Brutality is just as economic. The inclusionary anthem "Live for This" is reduced to the threatening rumble of Sean Martin's guitar and a few well-placed Matt Byrne drum fills, the better for kids to recognize and revel in Jasta's blood, sweat, and sheer honesty. "Another Day, Another Vendetta" is dedicated to and draws directly from Sick of It All; it's classicist N.Y.C. hardcore with a message applicable to Hatebreed's singular reason for being -- "Stay close to what is true to you." Metal, thrash, and hardcore continue to be maligned by outside forces or the quest for accessibility. In defiant response, Hatebreed get respect the old-fashioned way. They earn it. ~ Johnny Loftus, All Music Guide
What The Critics Say
Perseverance marks Hatebreed's major-label debut, despite being an integral part of the hardcore community for years. It also marks Hatebreed's first full-length album of new material since their 1997 debut, Satisfaction Is the Death of Desire. While most would expect that after five years some growth would be merited, listening to Perseverance one would have a hard time telling that such a period of time passed between albums. The album does indeed sound much better from a production standpoint, but considering that Hatebreed went from Victory, a prominent independent hardcore label, to Universal Records, which may very well be the largest record label in the world, that is to be expected. If nothing else, on this album Hatebreed manages to sound even more angry at the world then one would think possible. Hatebreed also seems to have taken on some new influences, as their excessive bond with the likes of Slipknot and Slayer has really focused the group's music on a heavier metalcore vein. The hardcore transitions are abundant and enhance almost every song contained on the album, one thing that is sure to incite riots amongst the moshers at live shows. Jamey Jasta's guttural hollering remains consistent, throatier than ever before, and it never ceases to assault the listener. Perseverance is not an album for the weak and fragile. Lyrically, Jasta seems to have a bone to pick with an assortment of unnamed characters, as almost every song on Perseverance is made up of lyrics that communicate the fact that Hatebreed will remain despite any ill words or empty threats. This subject matter goes hand in hand with the album's title and is easy to relate to. "Proven" kicks the album off to a ferocious start, and from there Hatebreed's intensity only increases. Slayer's very own Kerry King even offers his guitar skills on "Final Prayer," which is most definitely heavy metal, to say the very least. Hatebreed's determination to remain unchanged musically is inspiring; even though they have matured to a major label they lose none of their anger, yet their indifference to musical evolution may also prove to be a hindrance as well. Perseverance is an excellent introduction for those who have not yet experienced Hatebreed and matches the group's debut -- possibly even bettering past efforts. While Hatebreed doesn't disappoint, one may for the first time begin to worry about the group's longevity if they cannot broaden their musical horizons with future efforts. ~ Jason D. Taylor, All Music Guide
'Satisfaction Is the Death of Desire'
Release Date 1/1/1997
Tracks 14
Label Victory
See Album Tracklist and Review
What The Critics Say
With Sepultura-like vocals and ferocious, Slayer-style guitar riffs, these scary-looking, tattooed dudes from Connecticut have successfully crossed over from the hardcore scene to the metal scene, touring both with Ozzfest and Sepultura. Lyrically, they are definitely an East Coast hardcore band, with song titles like "Empty Promises" and "Betrayed By Life." Aside from being straight-edged, betrayal is the singular theme, for whatever reason, in East Coast hardcore and among all the zillions of bands that have copied that style. But Hatebreed's music is more influenced by death metal, or at least the bands that are more accomplished within that genre, because these guys can play their instruments. The drums, bass, and guitars all sound like a well-oiled machine churning out a massive sound. The vocals also have a more menacing, metal-like quailty. The result is one furious album, heavier than anything Slayer has done in a decade. ~ Adam Bregman, All Music Guide
