“Descending into madness, sickness, psychopathic fucking visions.”
Few bands in the deathcore scene stand out like Enterprise Earth. Initially led by former Infant Annihilator vocalist Dan Watson, the band has since gone through a full lineup overhaul, with lead guitarist and songwriter Gabe Mangold driving home the creative direction since 2017’s Embodiment, while frontman Travis Worland took over in mid-2022, debuting with his single “Psalm of Agony”.The one thing both eras of the band share is that all of their output is unmistakably deathcore. However, albums like The Chosen, Watson’s last hurrah, and the more recent Death: An Anthology push the boundaries of the genre more than Watson’spre-2019 output (for better or worse, depending on who you ask), as Mangold and Worland blend a variety of influences and styles into the band’s deathcore foundation, both vocally and musically.
“Descent Into Madness” reinforces this idea, featuring many of the same thrash, djent, and melodic death metal influences that have marked the band’s recent albums and occasional singles, such as 2023’s “The World Without Us” (a personal favorite of mine). However, this six-track powerhouse largely ditches the soaring melodies and Worland’s impressive clean range that were both present on that track and others since, opting instead for an unrelenting showcase of sheer brutality. Opener “I. The Descent” makes this apparent from the get-go, boasting much of the same technical songwriting prowess we have come to expect from this band in recent years, with an added focus of simply being heavier. This is largely exemplified by the track’s ending moments, a breakdown that is as catchy as it is heavy with its ultra-low djent-laden guitar grooves and satisfying drum patterns.
Beautifully transitioning into “II. Words Like Whispers”, it becomes clear that Enterprise Earth are less intent on creating a simple collection of songs this time around; rather, a dark and harrowing six-track suite that is reflective of its namesake in both name and sound. Nevertheless, as the group continues to hone in on the heavy side of things, they somehow manage to retain a catchiness factor, a word not typically synonymous with this style. Yet, the chorus on this track, as brooding as it is, lived rent free in my head for some time after my initial listen. Following track “III. Shadows Below” lends itself to the grandiose and theatrical nature of modern deathcore, with soaring semi-clean vocals courtesy of Worland atop black metal-tinged riffs and blast beats. By the EP’s halfway point, it’s clear that while the group have renewed their focus on sounding as heavy as possible for the sake of rejuvenating their setlist, they are far from creatively bankrupt – Mangold’s songwriting continues to draw on influences from all corners of the heavy music scene. “IV. Chasms of Hell” echoes this sentiment, standing out as one of the most multi-faceted cuts from this band in recent years, opening with a sweeping guitar lick not unlike something you might hear from the Avenged Sevenfold catalogue, yet closing with a double kick breakdown that could easily fit in an earlier segment of the group’s discography.
“V. Enough.” is a short, sweet and to-the-point intermediary track that pulls no punches. After a subtle yet appreciated Elden Ring sample (one I only caught after a few listens) the one minute and forty five second cut delivers a straightforward djent groove followed by a punishing breakdown, full of dissonance and capped off with a savage bellow from Worland. “VI. Shapeshifter” saves the best for last, as it is the only track on this EP that fully showcases Worland’s clean vocal range, making it all the more special in the vocal department. “VI. Shapeshifter” seamlessly transitions between melodic, brutal and dissonant passages with ease; it flows effortlessly between melodic, brutal, and dissonant sections, creating some truly memorable moments, even within a discography as expansive as Enterprise Earth’s.
By and large, it proved difficult for me to find anything negative to say about this one. Arriving not even a full year after Death: An Anthology, Descent Into Madness offers more of the same, only in a more condensed package that slightly favors the heaviest aspects of the group’s newly established sound. With that said, it would be a disservice to say it is any less creative than the band’s past two full lengths, and if anything, it proves they are capable of turning up the heaviness and shock factors when necessary whilst keeping their songwriting prowess intact. I’m beyond excited to hear how this might influence Enterprise Earth’s next full length, and here’s hoping the momentum doesn’t die out any time soon.
8/10
Descent Into Madness drops on the 31st January and can be pre-ordered here.