Behind Silence and Solitude

All That Remains is a melodeath-esque metalcore cum hard rocking metalcore band that has some chops lying underneath typical metalcore (and eventually just rock) compositions. Although very well-known for their poppier and more melodic affectations, their deubt, Behind Silence and Solitude, is kind of like that link between that old metalcore structure from the 90s, and that poppy metalcore sound characterized by Killswitch Engage’s End of Heartache. That one where the pop’s trying to burst out, where the band realizes what would propel them further into the mainstream and yet, they stubbornly stick to what worked before. So, what you end up with is a bunch of those harmonized In Flames leads and them At the Gates-esque and Dark Tranquility chords played under production that wants to be crunchy but sounds a bit too muted to properly come across that way.

The problem is that the songs all sound the same, and not in a good way. Not a whole lot differentiates each of the songs – like yeah, “Follow” has a breakdown with a solo playing over it, “Shading” kicking off its second half with some minor guitar theatrics and “Clarity”s intro laying those In Flames harmonics a bit thick. Otherwise, what you get in the titular track is what you get for the other seven songs. What you end up getting are some passable crunchy riffs filtered through a Gothenburg lens, Phil’s vocals monotonously going about their day in a rather hoarse manner, and some fucking sweet solos kicking off at just the right time to bring the songs back to life. Like, they’re not bad songs by any means, but past the solos and any particular standout moment (and I mean it when I say particular) lie songs that go in one ear and out the other.

Now, you would think with the longer jams in “Clarity”, “Erase” and “Home to Me” that they’d put more of their all into it... and they do kinda, as these songs contain some more melodic guitar-work and some slightly ambitious instrumental segments that break up the monotony. A lot of it comes down to these jam session-esque breaks where the drums ease up a little from the double bass and everybody else quietens down while Oli Herbert shows off some cool little guitar techniques. It’s often said that Oli is out of place as a ridiculously talented guitarist in a band that doesn’t just let him let loose and have fun with it. Here, it definitely shows. This is especially the case with the closing act of the closer, “One Belief” – like shit man, did Jesper Stromblad and Yngwie Malmsteen just stumble into the recording session here or something? Christ, these harmonized solos fucking rock!

Beyond that, you can safely file Behind Silence and Solitude under the “band’s first album” category. Riffs that try to manifest into melodic verses and choruses meander about, failing to be memorable in any way. I’d say that the latter half of the album is where they get more comfortable as they do more than just play third-rate melodeath riffs, but they aren’t much better. It doesn’t riff into a more memorable album as it goes – its more “experimental” moments are cute, but they don’t go full throttle there... nor do they go full throttle into melodicism, heaviness or anything. It’s an album that just is. They’d go on to write more melodic joints, which worked out well for them for the next two albums (but ONLY the next two albums), so this might come across as a curious little oddity in their discography. Frankly however, if this sound gets your goat going, go give Converge or Soilwork a listen instead.

All That Remains has always come across as a rather second or third tier band, peddling a most generic form of metalcore. However their first album Behind Silence And Solitude was not a generic metalcore album but rather a more traditional and generic melodic death metal album.

The major point of difference between this and latter albums is the lack of clean vocals. This a good thing as once All That Remains adopted clean vocals on later albums, they did so in the most clichéd manner possible.

Overall the music is reasonably well performed and rather accessible to anyone that is a fan of bands such as Arch Enemy or earlier In Flames and Soilwork. The album actually picks up in quality on the second half with a few more energetic and interesting songs.

The riffs and solos are satisfying if not exceptional and for the most instance predictable. Philip Labonte also delivers a pretty good vocal performance. The short album length (under 40 minutes) keeps the album from getting too boring.

Perhaps the most exceptional point is that the band actually manages to keep the songs varied. Not many debut albums manage this, especially in more extreme genres.

Bare in mind that by the time this album was released, melodic death metal had reached the point of over-saturation and was artistically bankrupt. Also Philip and company don't seem to have ever had the talent to create something truly unique or even something truly enjoyable at a generic level.

As such the album could be regarded as good yet completely redundant. There are more interesting melodic death metal albums out there. Behind Silence And Solitude is perhaps best viewed as something to listen to for a change when one is in the mood for melodic death metal but the old favourites aren't appealing.

In 1998, singer Phil Labonte was kicked out of Shadows Fall. Immediately afterwards, he formed All That Remains. In 1999, they released a 3 song demo containing Follow, Shading, and Erase. 3 years later, they came out with this, their debut full length. The songs appear in almost the same form as they did on the All That Remains demo, with slightly better production. When I first decided to try to check out older All That Remains, I didn't really know what to expect, having only previously listened to ...for We Are Many and The Fall of Ideals. What I heard was surprisingly similar to the Shadows Falls monster debut Somber Eyes To The Sky.

First off, all the vocals that you will hear on this album are from Phil Labonte. However, I feel that he took a step down from Somber Eyes To The Sky.. In that album, he was doing all sorts of growls and screams, and even some clean singing. Here, the majority of the albums vocals are very similar; he plays it safe, which is not a bad thing necessarily, although Adam D's production on some of his death growls (hint Follow) still sounds breathy, similar to how Matt Bachand's death growls on Somber Eyes To The Sky sounded. The guitar solos, however, are a drastic improvement and change from Somber Eyes To The Sky. While they still aren't the speedy shredding that Oli Herbert demonstrates on later albums, they are very classical and similar to some of the Gothenburg guitar solos heard in Slaughter of the Soul.

One thing that differs and makes this album a lot different from later work is the tuning of the guitars. Throughout the majority of their recording career, All That Remains has played their guitars in C# or D tuning. This album is played in B tuning, and with the very At The Gates style riffing on the lower strings, this album sounds much different from their later work. Also, the clear and obvious sound of the Marshall JCM800 is very prevalent, as the palm muted lower notes don't sound "clicky" so to speak, as they sound with the Peavey 6505 and EVH 5150s that they have used in later albums. Overall, while this album is much different, it sounds spectacular, and frankly shocking, compared to later All That Remains albums. Go out and buy it, enjoy. Every track on the album, while different, sounds great, but my favorite track is the opener, Behind Silence and Solitude.

I had a very difficult time trying to procure a copy of this album from the record stores in my area. After a few weeks I finally set hands on one. The first listen is destined to be just like the ones that proceed it.

Right away you can recognize the staples and signature sound of the band, in the delicate riffing that upon closer listen is not so simple as you once thought. Granted the production value is a bit low and not as pristine as many would expect. Although even though the album's sound is very hollow is adds a sort of ambiance. Like it would be the sort of record sold at some off the charts venue from a band that was just getting started, which of course is not too far from the truth.

The songs are relatively short, as is the entire album. You can't complain as the experience is better short, I couldn't imagine an album like this dragging on and still being able to hold my interest.

The stand out tracks are "Clarity" and "Erase", they show a bit more experimentation from the band and best represent the musical prowess the band has to offer. The scope of the songs, lyrically, is bland and sort of vague but best conveyed through the caustic and guttural harsh vocal stylings of Philip Labonte. Already early in the life of All That Remains he was top notch in his ability to push deep and get the best screams and growls for your money's worth. Already you could tell that this band was going to be rather big, and of course you could look no further for proof than this very album.

The bottom line is that this album is slightly less accessible than their later efforts, yet is rewarding in another way. It rewards in it's energy and the way it stirs your blood and intensifies emotion with each passing track. While this album certainly won't be for anyone, for those willing to seek it out, it will most certainly not disappoint.

I have long been a fan of All That Remains, I bought This Darkened Heart when it first came out and played it constantly, I still do in fact. I bought The Fall of Ideals and didn't like it upon first listen but grew into it. After a long quest for years to get a decent copy of their debut album I finally had one about a month ago.

First off the album is void of clean vocals with the exception of a few lines. Which means more metal choruses and no metalcore breakdowns with emo lyrics as you'd get with Killswitch Engage. Here you get only the best in riffing and tightly produced and executed drumming. The sound of the band in it's early years isn't too far off from This Darkened Heart, except that the lyrics aren't quite at a notable point. Labonte's vocals are top notch here and he uses them very well in coordination with his fellow band mates. As always there are plenty of guitar solos.

The thing I most like about this album is now accesable it is and how the songs are lacking in clean vocals with melodicism and hooks. It's a straight up metal record. I may be wrong, but I dare say it's melodic death metal.

If you're in the mood for a solid album that you won't tire easily of, here it is.