“We don’t have time. Time has us.“
The metalcore scene is no stranger to Fit For A King. An iconic name, the Texas band has been delivering their signature brand of heavy music since 2007. Known initially for their ability to push the limits of heaviness within metalcore, their sound has taken more of a melodic shift that began with 2018’s Dark Skies, a personal favourite record of mine from one of my all-time favourite bands. Since then, they have recruited Daniel Gailey (Phinehas) on guitars and most recently, Trey Celaya (Invent Animate) on drums, hopefully to inject fresh life into their sound. I’m sure I share the sentiment of many who were disappointed by their 2020 offering, The Path. While certainly not a bad album, it was rather lacking in innovation. With the announcement of The Hell We Create, I was cautiously optimistic and honestly nervous about the outcome of this album.
Fortunately, Fit For A King has always been good at telling stories of hardship through their music, and The Hell We Create is no exception. It details many trials and emotions faced by frontman Ryan Kirby over the pandemic, which leaves it feeling fresh and personal. Pre-release singles “Reaper” and “End (The Other Side)” gave me hope. “Reaper” was a return to form for the band, a dark and heavy track and a bleak reflection on the depression spiral many would have faced in the thick of the pandemic. It boasts Kirby’s signature monstrous screams and an instrumental bordering on deathcore, with pummelling blast beats and downtuned guitars that perfectly capture the emotion. “End (The Other Side)” is undoubtedly the standout single, a near-perfect culmination of the different eras of Fit For A King in one track. Lyrically, it discusses the raw and honest fears that went through Kirby’s mind when his wife suffered a stroke and almost passed away. The feeling of hopelessness and desperation is on full display, and it is one of the band’s best songs in a long time.
The other two singles, “Falling Through The Sky” and “Times Like This”, follow in the footsteps of The Path. The former is largely vocals focused, showcasing an impressive singing performance from Kirby and further exploring the sentiments expressed on “End”. Apart from the vocals however, the track doesn’t really stand out too much, making for one of the weaker tracks overall. “Times Like This” is driven by Gailey‘s signature melodic style, and his guitarwork shines especially in an impressive solo in the bridge. The song also sees The Ghost Inside frontman Jonathan Vigil, delivering his signature hardcore screams on the breakdown. Overall, it’s a bit too similar to previous lead single, “Breaking The Mirror”, much to its detriment.
Now, where does the rest of the album stand? The title track and opener to the album kicks the album off on a melodic note, with impressive drum work from Celaya punctuating the chorus. It’s a relatively good opener, but not the most memorable track. “Sink Below” follows on in this fashion, although it is significantly more energetic. This, combined with the title track and “Times Like This”, make up the more anthemic side of this album. The album kicks into a different gear with “Eyes Roll Back”, a return to the band’s more traditional heavy sound, in the style of long time guitarist Bobby Lynge. Sonically, it is similar to “God of Fire”, with the use of electronics and low string riffs, but is executed in an objectively better manner, being way less repetitive and sporting impressively fast vocals from Kirby. It’s a standout, and a much needed change in pace for the album.
The last three tracks that follow are the most emotional on the record, and my personal favourite stretch of the album. Thematically, they dwell on the experience of Kirby and his wife adopting their niece and nephew, and the damage they endured from being in an abusive family. “Fracture” is a softer track than I was expecting, although that isn’t a bad thing. The line “Losing myself because I was holding onto the person that you were inside, every lie you justified” is a powerful statement on the experiences of their adopted children. “Reaching Out” gives the spotlight to bassist and clean vocalist Ryan “Tuck” O’Leary, singing a touching and hopeful chorus about finding a way through pain. The ambient breakdown on this song only adds to the impact.
Album closer “What You Leave Behind” opens up with a epic intro, with tremolos, blast beats, and an orchestral backing that are almost reminiscent of Lorna Shore’s style. A narrative track, the singing represents Kirby’s thoughts, while the chorus represents the children’s words to their biological father. The words before and during the breakdown are Kirby’s own words to the children’s father, a powerful message where he screams, “Your pride will bury you.”
In many ways, The Hell We Create feels like a version of The Path with a clearer vision; it is able to blend elements of their old sound with their current strengths and not feel lost in the process. Within the extremely personal narratives, be it the fear of losing a loved one or navigating raising traumatic children, the emotion is genuine and felt. Undeniably, some tracks sound rather dated, especially those with a melodic metalcore focus. Even with the additions of Gailey and Celaya, there is definitely room for more variation. Fit For A King’s biggest strength is the way they convey emotion, and more songs like the second half of the album would have created a more cohesive album. Overall though, The Hell We Create is a step in the right direction that plays to the strengths of their current ensemble.
7.5/10
The Hell We Create will release next Friday, October 28th, via Solid State Records, and you can pre-order it here.