“Am I the sun or am I the ember, at the edge of a dying light?”
What Lies Below has been one of modern metalcore’s most exciting rising acts for a while now. The band from Pennsylvania had already caught my attention with their debut EP, but they solidified their standing with 2023’s Darker Colors. The display of technical skill and songwriting was excellently executed on that EP, and it left me anticipating what was to come. The band finds themselves at an exciting milestone with their upcoming debut full-length, I Let It Consume Me.
As mentioned earlier, it felt like What Lies Below really found their sound on Darker Colors. Their emotional display of djent-infused progressive metalcore felt like the fully realised version of the band at the time. I Let It Consume Me continues on that path rather consistently. One of the first few singles, “Void Alone”, left a good impression of the album to come. The destructively chunky main riff hits without much of a warning after a deceptively calm synth-led intro. Guitarist-vocalist Mike Watson takes the lead with his smooth, clean vocals on the calmer parts of the verse, before main vocalist Andrew Watson launches in with his impressively gritty screams as the weighty riffs come back in. The chorus is anthemic and impactful as always with What Lies Below, firmly anchoring the track’s presence. The track’s breakdown feels almost cataclysmic with its massive chugs and thally bends, and it really personifies the breakdown callout (“drag me into the depths of obsidian”).
The album starts on “Ether”, opting to hit the ground running with one of the album’s heavier tracks. Watson’s harsh vocals join the synth-led intro, adding to the suspense. Drummer Jonah Luteman lays it in thick with a burst of energy as the guitars also kick in. Guitarists Watson and Sam Hart make use of a blend of harmonics and chugs to create a memorable, rhythmically focused main riff. Vocalist Watson delivers a majority of the vocals on the track, utilising his signature gritty screams to great effect. The track may have a fairly standard modern metalcore structure, but it’s executed in a manner that feels very satisfying. The track’s breakdown is fast-paced and punchy, truly bringing out the emotions of despair that the track carries.
“Monolith” is another of the album’s heavier cuts. The track’s structure is a lot more unpredictable, twisting into heavier moments with ease and subverting the expectations set by the calmer intro. The track charges forward with a certain urgency in its faster tempo and intricate instrumentals. The track’s breakdown leans heaviest into the thall influences that the band is very much drawing from, slowing the track down with an apocalyptic set of chugs. I do feel that “Leech”, as far as heavier cuts go, is slightly lacking. It’s the shortest full track on the album, focused mainly on heavy electronic elements that lead to heavier metalcore sections. While the electronic elements are interesting, especially the breakcore elements in the second verse, I do find the heavier parts rather monotonous after a while. While I still enjoy the track, I do feel that “Leech” could have gone further with its experimentation.
Aside from their heavier exploits, something that always drew me to What Lies Below is their penchant for balancing atmosphere and melody with aggression. I Let It Consume Me has a grittier, more weighty edge to its production compared to Darker Colors, but the band doesn’t sacrifice their melodic elements in the process. “Afterimage” balances these elements nicely, with both Watsons complementing each other well with their respective vocal positions. The track’s chorus is definitely memorable, something the band have gotten down to a T. The drum work from Luteman is undoubtedly engaging and keeps the momentum of the track going. Utilising techniques ranging from complex fills to blast beats, he displays his entire repertoire impressively.
“Astral Sway” is a particular highlight, hitting with an unmistakable groove right from the start with its main riff. Vocalist Watson delivers a ferocious performance here, and it seems like his technique just keeps getting better with each new release. His ability to deliver harsh vocals with a crushing edge is a standout feature of the band’s sound. The track’s structure is quite unpredictable, swinging into heavier moments where a chorus can be expected and overall subverting expectations. It breaks into an intricate solo during the bridge, which is a pleasant surprise and a welcome change of pace. “Astral Stray” is a thoroughly strong performance in all its elements, and it displays a level of consistency from the band.
The three-track run near the end of the album encapsulates the range of What Lies Below quite satisfyingly. Starting with “The Silence We Keep”, the track’s intro sees Luteman heavily involved with a steady and powerful rhythm serving as the foundation for an impactful introduction. Guitarist-vocalist Watson delivers the chorus as the track opens into a more open, atmospheric direction. The subtle lead work throughout the chorus is a nice touch, though I wish they were slightly more forward in the mix. There’s no shortage of displays of technical skill throughout the track from all members.
“Pale Shadow” follows in a similar direction, taking a heavier swing with its bend-heavy main riff. This immediately gets contrasted by a mainly clean vocal-focused direction until the second verse, choosing to introduce a pensive atmosphere to the track instead. Where lead vocalist Watson comes in full force, his presence is immediately felt as he delivers his lines with purpose. The album’s lyrical themes have mainly focused on trying to find oneself amidst doubt and despair, and this emotion is executed well throughout the record. “Bloom” is the final track in this three-track run, taking the most melodic direction. It’s a nice change of pace from the heavy-handed direction that most of the album takes, focusing the heavy atmospheres of the album in a more uplifting, yet melancholic direction.
The album concludes with “Moonlight, Ephemeral” and its preceding interlude track, “Umbra”. The more optimistic direction of “Bloom” carries forward here, and there’s a certain intentionality with how the album chooses to conclude on a more hopeful note. The track’s atmosphere is a lot more introspective here, compared to the desperate and heavy-hearted character of most of the album. “Moonlight, Ephemeral” seems to draw some influence from ERRA in its guitar work, particularly on the second verse, where the leads are quite reminiscent of their self-titled album. The track’s breakdown has some Invent Animate feel to it, with how atmospheric and airy it is. I don’t suppose there are many better bands to draw influence from on this side of metalcore. The track concludes with yet another solo, which is a quality I’d definitely love to hear more of from What Lies Below. A well-rounded track to end a well-rounded album, and yet another solid effort from What Lies Below.
Where Darker Colors felt like What Lies Below, finding their identity and sound, I Let It Consume Me feels like a natural continuation of that path. Opting to maintain their strongest qualities while pushing for something grittier and heavier, the resulting album is still engaging even in its familiarity. In a time in this scene where demand for this style of progcore seems to be waning, What Lies Below forge ahead on the path they’ve set out on, continuing to create heartfelt music that’s true to themselves. There’s something admirable about that. Overall, I Let It Consume Me is ultimately a satisfying experience that many will undoubtedly find enjoyment and relatability in.
