One Cannery Row
Nashville, TN, 37203
Doors 6:00 PM / Show 7:00 PM
This event is 18 and over
Time passes, the world changes, but some things remain constant and unassailable. Heavy metal has endured for
more than four decades because its spirit is eternal, and few bands embody the intensity, integrity and lofty
artistic ambitions of the genre with more dazzling aplomb than Arch Enemy. Formed in Sweden in the mid-90s by
former Carcass/Carnage guitarist Michael Amott, this most explosive and proficient of modern metal bands have
spent the last 20 years propagating an unerring creed of technical excellence, songwriting genius and thunderous,
irresistible live performance, accruing a huge global fan base along the way. And now, in 2017, Arch Enemy are
ready to rise again and climb ever further up the ladder toward pure metal supremacy.
“The band's core musical philosophy hasn't changed much since I started the band,” says Amott. “It's still about
creating intense heavy metal with extreme vocals and a lot of melody in the guitars. We've always loved writing
and meticulously crafting the best songs possible, that's the main motivation for us.”
When Arch Enemy released their debut album Black Earth in 1996, death metal was stagnating and in desperate
need of a kick up the ass. Amott’s blueprint for the purest of metal strains proved an instant underground hit, both
in Europe and Japan, and almost single-handedly resurrected death metal as a viable art form with mainstream
potential. Signed to Century Media Records for 1998’s sophomore effort Stigmata, Arch Enemy marched
purposefully towards a new millennium with a rapidly growing reputation. 1999’s Burning Bridges added to the
band’s momentum, their razor-sharp blend of brutality and epic melody becoming more refined with each creative
step. But it was in 2001, when original vocalist Johan Liiva stood aside and mercurial frontwoman Angela Gossow
stepped in, that Arch Enemy truly took off.
Released in 2001 in Japan and nearly a year later in Europe, Wages Of Sin showcased a revitalised line-up and
newfound gift for immortal anthems, Gossow’s feral roar adding many layers of charisma and power to Arch
Enemy’s already monstrous sound. Swiftly dedicating themselves to a relentless touring schedule, the band’s
upward trajectory continued throughout the first decade of the 21st century, with each successive album
enhancing the band’s reputation and bringing legions of new fans to this resolute heavy metal campaign. Albums
like 2003’s vicious Anthems Of Rebellion and 2011’s pitch-black and savage Khaos Legions ensured that Amott and
his loyal henchmen – Gossow, drummer Daniel Erlandsson, bassist Sharlee D’Angelo and Michael’s guitarist sibling
Christopher - remained firmly at the top of the extreme metal tree: respected veterans at the height of their
“Surviving and thriving in the metal scene is not always easy,” Amott admits. “
Contrary to what I've seen a lot of people say, I feel the scene is actually quite trend driven and it's impossible to
be at the peak of your popularity all the time. In the past two decades we've seen a lot of trends and bands come
and go. What I've always believed to be important is to stay true to yourself and the reasons why you started. Why
you love music must always be at the forefront. I'm pretty good at keeping the 15-year-old Michael Amott alive in
Always focused but impervious to other’s rules and expectations, Arch Enemy evolved once more in 2015 following
the departure of Angela Gossow (now the band’s manager). Replacing one of the most iconic vocalists of the
modern age was never going to be easy, but in the shape of former The Agonist frontwoman Alissa White-Gluz, Arch
Enemy found the perfect candidate. Unveiled on the ferocious, anthem-laden triumph of 2014’s War Eternal,
Alissa’s powerful identity and extraordinary vocal talents proved a natural and instantly welcomed fit. Further
extensive touring cemented the new line-up’s thrilling efficacy, before one final line-up change – the arrival of
legendary guitarist Jeff Loomis, formerly of Nevermore – completed the musical puzzle that Amott had been
tinkering with for the best part of 20 years.
RELEASE DATE: September 8th, 2017
“Switching singers in 2014 was a big change of course,” Amott agrees. “Alissa brings a lot the band as a singer and a
very visually strong performer but also she writes great lyrics and vocal patterns that are very different to mine,
which makes for more variation in the Arch Enemy sound. The twin-guitar attack has always been a big part of our
sound and now we have Jeff Loomis who's played some face-melting leads on the new album!”
Recorded in 2017, the tenth Arch Enemy album will be unleashed later in 2017 and promises to be the ultimate
statement of heavy metal supremacy from a band that are still growing in stature as the years fall away. Will To
Power will be the first album the band have recorded with their current line-up and as Michael Amott explains,
diehard fans will be both thrilled to hear their favourite band on top form and somewhat surprised by their latest
“The goal is always to raise the bar yet again and create an epic masterpiece!” he laughs. “I think the album has a
great balance between traditional Arch Enemy and some new influences that come through here and there. The
most surprising thing on this album is that we've written our first ever ballad. It's still a very metal song, but there's
no way around the fact that it is a ballad and that might be quite controversial for a band like us, I guess. I'm
excited to hear what our fans will think of that one, but I do feel that we can afford to spread our wings a bit on
our tenth studio album!”
Once Will To Power hits the streets, Arch Enemy will do what they do best, hitting the road and taking their latest
batch of heroic metal anthems to the people. Achieving longevity is the toughest challenge that faces any band,
but Arch Enemy have long since established themselves as a permanent fixture on the global metal scene and as
standard bearers for upholding and celebrating of the heavy metal code. Right now, in 2017, no other band
embodies the spirit of the genre with such flair and euphoric zeal. Long may their steel spirit prevail.
“It's always been about creating the best songs we can make and whatever success we've had is the direct result of
the music speaking to people and our relentless worldwide touring,” Michael grins. “We are happy with the fact that
the band has had growth spurt these last couple of years and it's exciting to put on a bigger and more complete live
show for our fans. We obviously hope our fans will enjoy Will To Power and we're looking forward to getting back
out there and performing live again, with a whole bunch of killer new tunes up our sleeve!”
"We wanted it raw. We wanted it organic. We wanted it to sound the way we do in the live setting," relays Goatwhore frontman Ben Falgoust of the band's latest output, Vengeful Ascension. Their seventh full-length and second recorded reel-to-reel, Vengeful Ascension was captured at Earth Analog in Tolono, Illinois (near Champaign, Illinois) with longtime soundman and comrade Jarrett Pritchard (1349, Gruesome), breaking a four-album tradition of working with Erik Rutan.
"Working with Rutan was awesome. We did some great records with him," Falgoust is quick to point out. "But you come to a point where you're like, ‘All right. Let's try something new.' It was part of trying to remove ourselves from a comfort zone and a risk thing we needed to take. Plus, we really wanted to hit the essence of where we are live and what better way to harness that than by having our live sound guy involved. Jarrett is knowledgeable with the studio stuff. He also knows how we sound coming out of a PA and we really wanted to get closer to that. Pritchard really focused on that live aspect from every members' perspective and I think he pushed us out of our personal comfort zones. He really understands our vision."
The resulting ten-track, forty-one-minute production – mixed by Chris Common (Tribulation, Pelican) and mastered by Maor Applebaum (Faith No More, Halford, Today Is The Day) – marches in, clutches its listeners by the throat and refuses to loosen its grip until the abrupt conclusion of "Those Who Denied God's Will." A sonic manifestation of war, chaos, desolation, and emotional conflict, seamlessly bridging twenty years of the band's signature brand of audio venom, it's a record that finds its members at their most accomplished both individually and as a cohesive unit. Guitarist Sammy Duet's dense, sub nuclear riff work and possessed solo blitzes are at their most devastating spiraling flawlessly and instinctually around drummer Zack Simmons' and bassist James Harvey's hammering rhythms while Falgoust's distinctly commanding roar, his acidic prose more enunciated than ever before, complimenting the apocalyptic proceedings.
"I think every song on this record is pretty fucking strong," the frontman reflects. "Each song is a representation of Goatwhore. from day one until now. It really shows our evolution as a band. I don't think that this band has reached its peak yet. I mean, I think we're closer now than ever but we're still growing; we're still evolving."
While hardly a concept record in the traditional sense, Vengeful Ascension loosely revolves itself around Luciferian notions in title and spirit where the symbol of Lucifer serves not as a fiendish, all-destroying demon but rather an emancipator or guiding light. It's a theme of struggle and transcendence derived from John Milton's Paradise Lost epic and one that has appeared, whether directly or indirectly, within Goatwhore works of the past.
"There's that whole idea of Lucifer being the anti-hero," elaborates Falgoust. "He's cast out from this place in Heaven to the depths of nothing. He keeps trying to ascend to the top again but no matter what, there's always this significant force trying to destroy him at any point and banish him back to Hell. If you look at it from an everyday aspect in life, it's the idea of people, hitting the bottom of the barrel or you know, things just aren't going right in life… emotion plays a huge part in how people react. Whether it's based on love or hatred or sadness or whatever, there's always an aspect of emotion that drives people to an extent. So the whole idea of a ‘Vengeful Ascension' is built on being at the bottom, working your way to the top, and realizing along the way that there's other facets to the journey aside from just pure retribution. Within negativity there can exist a positive angle as well."
Vengeful Ascension serves as the soundtrack to that luciferious rise straight off with the combative, ritualistic drum onslaught of opening hymn, "Forsaken." Wholly immersive, each track is alarmingly palpable in subject and corresponding execution. The tense, clandestine battery of "Chaos Arcane," based on HP Lovecraft's book Nyarlathotep, a story which attempts to recount the inexplicable sense of fear in expectancy of an unknown evil, conveys that sensation of impending doom through sound in a way only Goatwhore can. "Mankind Will Have No Mercy," a pseudo tribute to Bolt Thrower, seethes under the weight of its own wartime sentiment, while the rapid-fire, punkish urgency of "Under The Flesh, Into The Soul," a first person account of irrepressible resentment, sounds utterly enraged. "If resentment could speak, that's it right there," says Falgoust. "It's the idea of resentment getting into an individual and just consuming you." And with an average runtime of just four minutes, no one song ever overstays its welcome.
Forged by former Acid Bath/Crowbar guitarist Sammy Duet in 1997, it's been two decades since Goatwhore reared its menacing head from the swamplands of New Orleans, Louisiana. The band's winding history a dramatic, at times traumatic, sequence of personnel changes, fatal injuries, paranormal activity, natural disasters, and an assortment of other misadventures large and small, their tale begins with the primitive rumblings of the Serenades To The Tides Of Blood demo and subsequent Eclipse Of Ages Into Black debut released in 1998 and 2000 respectively. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, Goatwhore's DIY work ethic, persistent tour schedule and warring, fuck-all approach of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" helped spawn a loyal following compelled by the band's unrepentant Celtic Frostian rhythms and corrosive black death bayou swagger.
A slower, more introverted affair, Funeral Dirge For The Rotting Sun followed in 2003. The record trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band uncertain. Against medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar duties, quickly returned to the road. Seemingly plagued by bouts of disaster, 2005 found the band fleeing the desolating flood waters of Hurricane Katrina. Delayed but undeterred, Goatwhore's first Metal Blade Records release -- 2006's A Haunting Curse, which featured the revised lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron -- proved their most vicious manifestation yet. The record was captured at Mana Recording Studios in St. Petersburg, Florida with Erik Rutan (Morbid Angel, Hate Eternal), who would go on to record the band's next three studio offerings. Wholly embracing their long-avowed Hellhammer and Venom devoutness without pirating it, A Haunting Curse is relentless in speed, precision and brazen hostility and six years later, "Diabolical Submergence Of Rebirth," would make its way to HBO award-winning drama series, Treme.
By 2009, Goatwhore unleashed the nefarious craftings of Carving Out The Eyes Of God. A behemoth recording in sound, mind and spirit, the record ranked among the year's most worthy metal albums by fans and critics globally, debuting on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) chart at #16, and the Billboard Top Independent Albums chart at #34. No small feat for a blatantly non-mainstream band. Decibel Magazine hailed the band's, "rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl," while Outburn likened it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom."
For the next two years, Goatwhore maintained an unyielding tour schedule, reducing cities throughout the US, Canada, Europe, and Australia to rubble with their notoriously crushing, live performance. Further educating the potentially unversed, unofficial Goat' anthem, "Apocalyptic Havoc," appeared on the Xbox 360/PlayStation 3 game soundtracks for Splatterhouse and Saints Row 3, while the video for the song was featured in an episode of Last Call with Carson Daly. 2011 closed with a win of Best Hard Rock/Metal Artist at the annual Big Easy Awards, which pays tribute and honor to the city's performing talent.
Resting only long enough to conjure more audio pandemonium, Goatwhore undraped the chart-topping, critically-lauded Blood For The Master full-length in 2012. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the cloven-hoofed ranks in 2009 following the exit of Nathan Bergeron, the record found Louisiana's notorious metal horde at their most unified. Delivering a ruthless onslaught of fist-pumping, heathen anthems, and rhythmic obliteration bedecked in the enticingly unhallowed prose of Falgoust who succinctly dubbed the record, "evil rock 'n' roll."
The maniacal hymns of Constricting Rage Of The Merciless arrived in 2014 and marked the band's first studio effort to be tracked to two-inch tape, a more challenging approach that demands performance over pro-tooled perfection and leaving little room for error. Boasting a more urgent, ominous and blatantly reckless demeanor than its predecessors, the record again surpassed previous efforts in composition and execution consequently debuting at #81 on Billboard's Top 200 chart, topping their last entry position of #171 with Blood For The Master. Elsewhere, Constricting Rage Of The Merciless ranked in at #21 on Billboard's Rock chart, #7 on the Hard Rock chart, and #13 on the Independent chart while third album single, "Baring Teeth For Revolt," made its audio debut in CBS crime drama series Elementary. Welcoming live bassist Robert "TA" Coleman (Warmaster, Hod), a tireless tour calendar, including shows with Samhain as well as well as a converted performance at Ozzfest-meets-Knotfest opening Black Sabbath's final West Coast show, followed. And now, the time for Vengeful Ascension has come.
The Goatwhore journey commenced with the primitive rumblings of the "Serenades To The Tides Of Blood" demo and subsequent "Eclipse Of Ages Into Black" debut. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, the band's stanch DIY work ethic, relentless tour schedule and the battering, fuck-all approach of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" helped spawn a maniacal cult following. By 2003, Goatwhore had harvested a legion of disciples possessed by the band's unrepentant Celtic Frostian rhythms and corrosive black death bayou swagger.
Second full-length, "Funeral Dirge For The Rotting Sun" transcended far beyond the traditional constructs of black metal. Lyrically dense and impossibly heavy, "Funeral Dirge"… was a slower, broodier, more introverted composition with Falgoust's and Duet's high-to-low vocal exchange punctuating its looming atmosphere. The record trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band uncertain. Against all medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar duties, quickly returned to the road. Seemingly plagued by bouts of disaster, "A Haunting Curse" found the revised Goatwhore lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron, fleeing the ravaging flood waters of Hurricane Katrina. Delayed but determined, Goatwhore's first Metal Blade production proved their most vicious yet. Relentless in speed, precision and brazen hostility, and fittingly crowned "down and dirty, heavy and blasphemous," (Sputnik Music) the band's rabid blackened death thrash hybrid fully embraced their long-avowed Hellhammer and Venom devotion without pirating it. Six years later, "Diabolical Submergence of Rebirth," would make its way to HBO award-winning drama series, Treme.
By 2009, Goatwhore dropped the nefarious craftings of "Carving Out The Eyes Of God" upon unsuspecting ears. A behemoth offering in sound, mind and spirit, the record ranked among the year's most worthy metal albums by fans and critics globally, debuting on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) chart at #16, and the Billboard Top Independent Albums chart at #34. No small feat for a blatantly non-mainstream band. Decibel Magazine crowned "Carving Out The Eyes Of God", "the band's tightest, most guitar-driven offering to date. An unholy smorgasbord of rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl…," Outburn likened it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom," while MetalSucks proclaimed "Carving Out The Eyes Of God" "the catchiest album Goatwhore have ever released." Additional conquests included a spot on the 2010 edition of Ozzfest and two performances at the annual SXSW music conference enabling the horned collective to deliver their sadistic canticles of religious treachery to an even broader sect of listeners.
For the next two years, the band maintained an unyielding tour cycle, reducing cities throughout the US, Canada, Europe and Australia to rubble with their devastating live takeovers. Further educating the potentially unversed, unofficial Goat' anthem, "Apocalyptic Havoc," appeared on the Xbox 360/PlayStation 3 game soundtracks for "Splatterhouse" and "Saints Row 3," while the video for the song was featured in an episode of Last Call with Carson Daly. Closing out a near perfect run of riotous adventures, Goatwhore was named Best Hard Rock/Metal Artist of 2010 at The Big Easy Awards, a deserving honor based on performance throughout the year.
Resting only long enough to conjure more audio chaos, the band unleashed the chart-topping "Blood For The Master" long player in 2012. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the cloven-hoofed ranks in 2009 following the exit of Nathan Bergeron, the record found Louisiana's notorious metal horde at their most unified. Boasting a ruthless onslaught of fist-pumping, heathen anthems, and rhythmic obliteration bedecked in the enticingly unhallowed prose of Falgoust who succinctly dubbed the record, "evil rock 'n' roll." The record further raised the eyebrows of media outlets both stateside and abroad, nabbing the cover of Decibel Magazine, who gushed, "Five albums in, Goatwhore still hold the crown as the hardest-working band in metal. With "Blood For The Master," all of their sacrifices have finally paid off." Craveonline.com proclaimed, "If somebody could capture the speed of the harshest winds in the Antarctic they might come close to understanding the high rocktane insanity of Goatwhore," while About.com added, "There may be other bands who tout this black/death style, but very few can make it both catchy and devastating. Goatwhore have been getting better as the years wear on, and this album established them as a metal band not to be ignored." Surpassing the success of their previous opus, Blood For The Master debuted on the Billboard Heatseeker chart at an impressive #4, the Current Hard Music chart at #12, the Hard Music Chart at #21 and the Top Independent Albums chart at #31 as well as ranking in at #19 on the iTunes Rock chart upon its first week of release.
Enter the diseased hymns of 2014's "Constricting Rage Of The Merciless." Captured at Mana Recording Studios in St. Petersburg, Florida with audio magus, Erik Rutan at the helm, "Constricting…" serves as the band's first studio effort to be tracked to two-inch tape. A more challenging approach that demands performance over pro-tooled perfection and leaving little room for error, the ten-track, 37-minute offering marks Goatwhore's most well-executed, sonically devastating manifestation to date, its warm, organic production harnessing the thick, monolithic, war-ready tone and energy of their live performance in a way previous recordings have not.
"If we went to someone else, it would be a total disaster," Duet recently told Decibel Magazine of working with Rutan, who, having recorded the band since 2006's A Haunting Curse, has become as much a fundamental asset to Goatwhore's apocalyptic sound and vision as the band members themselves. "He understands what we want out of an album instead of coming away with something that shiny, polished, sterile, digitally manipulated and completely fake and false."
"To record mostly to analog was incredible and the results exemplify that," said Rutan, who hadn't worked with tape since Hate Eternal's "I Monarch" and Soilent Green's "Confrontation," both recorded nearly a decade earlier. "Amazing tones and performances. This is the real deal! It takes a lot of guts to record an album to tape in a day and age of metal where conformity and sterility are more commonplace then originality and vibe. I cannot wait for everyone to hear this album. It has been an honor to work with Goatwhore once again and I thank them for bringing out the best of me."
A multi-faceted recorded that traverses a broad range of moods and emotions both musically and thematically, "Constricting Rage Of The Merciless" reflects the duality of its creators, adopting a more punishingly urgent, ominous and reckless vibe than its predecessors. "Emotions clash when we write," reveals Falgoust, "Every person involved in this band has different things going on in their lives through the course of writing a record. From the point of Sammy creating a riff, to how Zack perceives the riff for his drum duties, to the way James adds in the low end to fill out its essence to when I take it all in and make my own assessment of how the vocals will intertwine. In all those stages feelings twist and turn in each individual to create the final work that envelops the culmination of that entire emotion."
"It was definitely cathartic… a release of some very negative vibes that were pent up," admits Duet of the riff-writing process. "I feel like the last one was more you know, 'let's drink a bunch of Jack Daniels and start a bar fight.' This album is a lot more psychotic. It's more like a serial killer's murder spree." Still lush with the charred, sub-nuclear riff incursions, rhythmic battery and infernal Falgoust/Duet vocal collisions for which the band has become synonymous, Duet speaks in terms of overall atmosphere. "There are parts that will make you very sad (witness the miasmic bone chill of 'Cold Earth Consumed in Dying') but there are also parts that are very angry ('Externalize This Hidden Savagery.' That's we're trying to portray with this record: The total evil of the soul. This album definitely has a darker mentality to it."
"The title represents a person or persons being pushed into a corner too far until vengeance is born, but then again it also represents the failing mercy behind organized religion," relays Falgoust, whose traditionally well-scripted psalms of death, debauchery, religious provocation and the improbability of life-after-death explore a more cerebral realm of self-development.
From the combatant onset of "Poisonous Existence In Reawakening," and the tense, hammering momentum of "Unraveling Paradise," to the punkish urgency of "FBS" and the fiendish cascades of "Schadenfreude" (literally meaning the pleasure derived from the misfortunes of others), Goatwhore spew their unadulterated, subterranean metal as channeled through the historic likes of Motörhead and Bathory, with the insatiable hunger of a pack of wild boars. These are true requiems of revolt, at once predatory, epic, hate-fueled and sadistic. Due at least in part to the sheer synergy that comes from living in a van together for weeks on end, "Constricting Rage Of The Merciless" is razor sharp in musicianship literally writhing beneath the weight of its own sonic enormity. Duet's thick, gnarled guitar tones and bestial vocal accents coil seamlessly around Simmons' and Harvey's, brash, chest-heaving rhythms. It's all punctuated by the imposing voice and cynical prose of Falgoust who literally ran laps around the studio before taking to the mic to summon a more frantic, rasping edge to his signature tirades, now more enunciated than ever before. When Falgoust howls, "WE ARE COMING TO SMASH YOUR IDOLS!" (in traditional metal rager "Baring Teeth For Revolt"), souls weaken, forests die, planets implode. In a saturated metal landscape where sub-genres spawn sub-sub-genres and the very definition of "metal" seems repeatedly distorted by cross-pollinating madness, sacred are the bands who to stay true to their proverbial roots without repeating them.
"Constricting Rage Of The Merciless" will make its final decent upon North America on July 8, 2014 via Metal Blade Records.
Uncured is a progressive death metal 4-piece from NYC that is attracting international attention for its combination of technical musicianship, brutal riffs, and melodic interludes.
Uncured toured extensively throughout 2017 with some of metal's top acts, including Katatonia, DevilDriver, 36 CrazyFists, and Children of Bodom. Uncured will tour North America with Soulfly in February and March of 2018 and with Cradle of Filth in March and April of 2018.
Uncured was founded in 2016 by brothers Rex Cox and Zak Cox. Zak and Rex both play guitar and sing. Joining Uncured on drums is Liam Manley from Portland, Oregon. Jon Kita from Boston, Massachusetts, who previously played with metal stalwart Diecast, rounds out the Uncured line-up on bass.
Uncured released its first full-length record "Medusa" on March 10, 2017. The record was named as one of the "10 Best Metal Albums of 2017" by AXS.com. MetalSucks wrote that "Medusa" is "a synthesis of all manner of melodic, progressive, technical metal — Dream Theater, Opeth, et al. — mixed with a groovy, almost tribal approach trafficked by ’90s stalwarts like Sepultura and Fear Factory. Have those two genres ever been mixed together before? Probably, somewhere. Have they ever been mixed together before with such finesse and originality? Certainly not."
Uncured -- Rex Cox, Zak Cox
Uncured is quickly gaining a reputation among fans and critics for its aggressive, technical, yet highly diverse live performances. Metal Injection reported that "Uncured sounds a bit like old school Dream Theater with some modern tricks thrown in, such as full-on breakdowns and smoking guitar acrobatics. This is band comprised of extremely talented and promising young musicians."
Metal Assault Magazine reported that "the talent in musical composition and song arrangement was vastly evident right from the outset, and it never ceased to engage and compel. Uncured’s roots are firmly planted in prog, but also in Scandinavian death metal, and the manner in which they moved from crushing heavy grooves to break into smooth, sexy interludes was beyond exemplary and forced the onlookers to smile in admiration." Shutter 16 Magazine simply stated: "just wow, the raw talent of such a young fronted band is outstanding. Formed, written, and lead by two teenagers, is truly insane." The magazine continued that Uncured has "the sound of old school metal with an influx of modern solos and rhythms, while vocally pulling from a death metal side of things. The solos were the contrast to their music, very progressive sounding and very technical, whereas their song structure was brutal and heavy."
Critics have commented on the diversity of Uncured's sound. CrypticRock.com reports that Uncured "matches speedy, technical guitar riffs with blistering drumming--but the true highlight of Uncured's live set is the ability to slow it down at the drop of a dime, mixing in darker, compelling storylines amidst all the chaos." Metal Nexus reviewed Uncured's show in Washington, DC: "It has been a long time since I have been this utterly impressed by a new band with only a debut album. And how often do you see two vocalists unleashing harsh vocals with intense yet melodic riffs? The young lads with their youthful energy, technical prowess, and blistering speed set the stage on fire."
Uncured released Spontaneous Generation in 2016, a 4-song instrumental EP. Max Portnoy (son of Dream Theater drumming legend Mike Portnoy) played drums on the EP.