It’s been three years since Hath shattered my hearing with their explosive debut release, Of Rot and Ruin. That album demonstrated the power and energy that surge through this New Jersey four-piece. All That Was Promised is the first album when the band have written as a quartet, and the results are savagely impressive.
The New Jersey outfit formed in 2014 and wasted little time in releasing their debut EP mere months later. Of Rot and Ruin followed in 2019 and earned my praise at the time as an exceptional blend of black and death metal. It was a stellar debut release with some savage tracks. It’s pleasing to report that album number two continues with the aural assault.
All That Was Promised comprises some heavyweight music. Opening track “The Million Violations” eases into things with a brief gentle introduction before a huge wave of darkness sweeps everything in its path, leaving as quickly as it arrived. It’s an ominous feel that segues into a blistering explosion of ferocious blackened death, gargantuan riffs, blistering blast beats and Frank Albanese’s gravel-soaked roar. The track slows once more, teasing the listener with miniature pieces of tranquillity that are quickly crushed. The ebb and flow of “The Million Violations” leaves the listener confused and disorientated.
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Fear not, for the bludgeoning approach that Hath used on Of Rot and Ruin emerges in brutal fashion, as the raging dynamism of “Kenosis” bursts forth. An avalanche of bruising metal spews forth, immersive in approach, as squealing bursts of razor-sharp lead work fire out indiscriminately. There are hints of Behemoth in the muscular delivery, but this is no clone. “Lithopaedic” follows, a demonic and towering track that contains a visceral intent. Levelling all in its path, the drumming is relentless, and yet the onslaught is strangely enticing, as the rhythmic patterns batter.
Unyielding in intensity, Hath are in no mood to give an inch on this album. Some clean backing vocals on “Decollation” is about as much of a nod to the mainstream as you get on this album, although there are a couple of melodic breakdowns that provide much needed opportunity to catch one’s breath. Otherwise, this is a force with such energy and power that you could charge machinery off it. It’s punishing, even when the pace slows, as the heaviness simply amplifies. However, it’s when all is unleashed that Hath show their true force with crushing viciousness.
Whilst Hath favoured the approach which causes maximum devastation, such as the unstoppable “Death Complex” with its pulverising assault, there is further clean singing on “Casting of the Self”, another gripping and extraordinary song. It’s an album that can source both light and shade from within. The title track is the penultimate song, and once again things get a little weird, as Hath move into an almost trance like state. It’s a hypnotic beginning which quickly evolves into another battering ram of a song.
All That Was Promised concludes with the volatile “Name Them Yet Build No Monument”. It’s a fine finale, punching each other in the face with a delivery that is both aggressive and prophetic. It is certainly a record that should carry a health warning, such is the dangerous intent. It’s good to see Hath back on the scene.
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All That Was Promised is out on March 4th
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