The Metal sub-genre, Hardcore, is a mixed bag of backgrounds, stylizations, and even images. There is one commonality across the board: raw heaviness. One band that has one of the most unique approaches to Hardcore is Code Orange. They truly flex their muscles on their scathing industrial style on Underneath. To find the conception of this album, we must investigate the type and ontology of each track.

“(deeperthanbefore)”: 3

   The opening track is a prelude, perfectly illustrating and establishing the aforementioned industrial aspect. It’s ominous and, at times, horrific sound escapes are unsettling. Sometimes it makes listeners feel like they are being brainwashed. Its small composition reminds me of Deafheaven’s “Incidental” series.

“Swallowing the Rabbit Whole”: 3

    This is such a weird track to talk about. The intro instantly pays off in the opening lines of this track. Reba Meyers’ and Dominic Landolina’s work on guitars takes on a modern form of Hardcore, with an ambivalent leadwork, and at times chug-driven. Joe Goldman and Jami Morgan create a tribal feeling with their bass and drumwork. They tend to blend in with the mix of the synths, but they develop the lower end of the electronics. The problem is, it’s kind of boring, and the composition has few hooks. “Swallowing the Rabbit Whole” illustrates the embankment of an individual finding self-enlightenment and the consuming nature of that journey.

“In Fear”: 4

   Code Orange picks up the pace with “In Fear,” a methodical application of Hardcore. They take a stripped pathway, which makes the track feel more like a B-side of Posthuman by Harm’s Way. Eric Balderose’s vocals are guttural and full, which makes the hooks feel atmospheric. Even though they strip away the stylization of the album (within the first three tracks), it serves as a breath of fresh air and a way to show how raw Code Orange can make their music. The track covers modern problems and the multifacets of hysteria, whether social, to one’s, and consequences of subsequent actions.

“You and You Alone”: 4

  They crank the speed up to 10 with this track. It feels like a combination of Thrash Metal and traditional Hardcore. I like the thrashier approach to Meyers’ and Landolina’s guitarwork. Also, the added industrial elements just add more methods to the madness of the track, perfectly, I might add. There’s something about Balderose’s deeper vocals on top of 80s-centric Speed Metal that creates a unique listening experience. Code Orange reflects on bitterness and how dangerous human perception can be.

“Who I Am”: 4

   Surprisingly, listeners drop the speed in contrast to the previous track for Meyers’-led track. The Hardcore stylization is replaced with an atmospheric, but still dark composition. The track feels like Code Orange wanted to do a Post-Rock song, with the Post-Hardcore instrumentation and previously mentioned atmosphere. “Who I Am” covers Ricardo Lopez, who became obsessed with Björk and attempted to murder. Before his death, he recorded 12 tape diaries, all documenting his spiral before he attempted to murder Björk via a letter bomb.

“Cold.Metal.Place”: 3

   Unfortunately, all good things must come to an end. The industrial elements are there, but they don’t serve a purpose. It’s filled with a lot of boredom and has little to no hooks. I had to listen to this track three more times to get a grasp on the basic composition. As of writing this, I can’t remember a thing. The song is about the self-destructive mindset of being consumed by technology and criticism.

“Sulfur Surrounding”: 5

   Luckily, Listeners recover from that bored preceding track. ‘Sulfur Surrounding” is one of the most unique sounding and feeling tracks I’ve heard out of the modern Hardcore scene. Meyers’ vocals ascend the track into what can be only described as hypnotic. The ambience of the guitars on behalf of Landolina transcends any mainstream genre we know of. Code Orange covers the dangers of manipulative relationships within the Digital age.

“The Easy Way”: 5

   I was fairly surprised by the approach to this track’s composition, since the previous track had a dynamic structure and sound. “The Easy Way” is a simplistic but stylised approach to Hardcore, with a lot of hints of 90’s grunge. It’s fun, but doesn’t sacrifice the foundation the album has thoroughly and masterfully built. The track is a critique of personal presentation on social media, and the chase for perfectionism. 

“Erasure Scan”: 3

   Honestly, I don’t hate this song, but it feels like I’m just listening to scrapped verses and choruses of some of the earlier tracks on the record. I’m sure there’s someone out there that this was their first song on the album. So maybe it’s just up to perceive and where certain listeners started on the tracklist.

“Last Ones Left”: 4

   Look, I know I just critiqued the precursor to this song on the basis of reused material. Yes, “Last Ones Left” has the same composition as “In Fear.” But, I really liked that, the other had a vanilla structure and sound. There’s just something about the raw nature of this track that makes me like it. Balderose nearly belches out lyrics directed at the flaws of corporate disillusionment and the problem with the “flavor of the week” mentality.

“Autumn and Carbine”: 3

   I love when bands experiment with other eras of music. But this is NOT one. I’m not sure why out of all of the Thrash Metal approaches they chose late 90’s Megadeth. They sound like someone making fun of Dave Mustaine. Like seriously, it’s already bad he’s a horrendous musician, don’t remind him of it.

“Back Inside the Glass”: 3

   This track had a lot of potential but unfortunately went nowhere. My biggest pet-peeve with Hadrcore, is when bands don’t insert some kind of hook, whether that be a melody or traditional chorus. The listener-ship of the track has little to no substance.

“A Sliver”: 5

   There’s something about this track and “The Easy Way” with the 90’s Grunge and Alternative stylistic nature that makes me wish bands like The Hunger were still actively releasing music. The only thing we have out of that group is the mediocre Dave Matthews Band (I’m kidding Mrs. Smith).  “A Sliver” is about the modern human experience of overexposure to tragedy and the fleeting nature of empathy in a hyper-connected world. 

“Underneath”: 4

   I really  adore this finale. “Underneath” is a perfect zenith of all the different elements coming together into one. The previously mentioned synthwork. The structure takes on a traditional Metalcore structure with verses being driven by Balderose’s vocals. The chorus is brought to fusion by the dissent-esque vocals of Rebel Meyers. Each of these pieces are adorned by guitars, ranging from chugging and atmospheric whining. The finale is about society’s exposure to tragedy, how much it affects others and how quickly everybody seems to get over it.

   Overall, this album is a perfect example of what Hardocre bands can do, and to show the dynamic mastery of the industrial scene. I always believed this record can be 156/Silence’s  People Watching is on different sides of the same coin. Whereas that album felt like you were being encapsulated in a swamp, this feels like you are stuck in a factory that is still running.