Crossfaith – AЯK (Album Review)

After a 2 year wait and significant shakeups in their lineup, the ferocious fivesome from Osaka, Japan make a triumphant return with ear-shattering momentum with their new full-length effort.

As a key member of the Japanese metal scene responsible for bringing a futuristic brand of electronicore to the worldwide masses through means of countless world tours and appearances at some of the most celebrated metal festivals on the globe, fans’ thirst for Crossfaith to continue on their winning streak is undeniable. While disappointment abounded upon the recent farewell of long-time bassist Hiroki Ikegawa and supporting guitarist Tama, excitement also ensued at the announcement of new guitarist Daiki Koide, one of the supremely talented guitarists from the now disbanded J-Metal group Her Name In Blood. This news and the band characterising ‘AЯK’ as a step into the ‘new era’ for Crossfaith ensured that tensions were up upon its release.

The album is introduced through a dramatic string-led intro ‘The Final Call’. Employing the surging synthesisers the band is famed for throwing into their whirlwind fusion of metalcore and electronica, this 2 minute opener serves to whet fans’ appetites for the delightfully loud tracks to come.

The following song ‘Zero’, the 1st single off the album, explodes with the breakneck velocity and metallic groove that listeners will have come to recognise from the band after almost 20 years of hard-hitting tracks. While the song opens with an ear-worm vocal sample layered on top of drummer Tatsuya Amano’s slick beat, the track is soon thrown into epic disarray with the chunky growl of guitars courtesy of Kazuki Takemura and new addition Koide; delivering on the unrelenting heaviness that listeners are always assured of within a Crossfaith track. As with most recent releases such as 2018’s ‘Ex Machina’, the band’s strengths are highlighted in their bombastic, brash and above all chantable choruses, and ‘AЯK’ is not immune to this. ‘Zero’s chorus packs a solid punch as it rushes in with a memorable refrain (“Breakaway from the same old day”) along with a frenzied drum beat and aggressive guitar accompaniment. ‘Zero’ is only the album’s 2nd offering, but by this point the guys already have all of our attention.

My Own Salvation’ makes use of member Terufumi Tamano’s liquid synths and keyboard flourishes that really characterise the band’s playful mix of styles, as well as contributing to the sky-high energy of their music, particularly during their live shows. A pounding electronic beat is also used in metal party anthem ‘God Speed’ featuring UK outfit WARGAZM. After a number of successful collaborations with other UK acts such as Skindred and Enter Shikari to rapturous attention from fans, ‘God Speed’ is surely another hyperactive electro-tinged jam that will go down as a classic in the band’s discography.

‘Warriors’ featuring fellow J-Metal band SiM may very well be the highlight of the album for many listeners. Indeed, the sound of the recognisably savage vocals of SiM vocalist Mah intermingling with the strangled growls of Crossfaith’s Kenta Koie will be enough to set hairs on end. The song even throws in a short interlude punctuated by a reggae beat and Mah’s effervescent vocals, of course reminiscent of SiM’s reggae/ska/rock roots. It’s truly a glorious creation.

‘Headshot!’ and ‘DV;MMYSY5T3M…’ really bring the thunder to audiences, both containing startlingly brutal breakdowns and a colossal guitar sound that is sure to rock listeners’ worlds. The latter track is no doubt one of the band’s heaviest in years; perhaps drawing similarities to 2018’s raging ‘The Perfect Nightmare’ or the notorious final breakdown in 2012’s ‘Monolith’. Either way, if this is what the new era brings for Crossfaith, listeners are going to be very pleased indeed.

‘L.A.M.N’ featuring Bobby Wolfgang is every bit the deliciously manic hardcore banger that has previously rendered Crossfaith as a ‘party band’, and rightfully so. It is near impossible not to bop along to ‘L.A.M.N’s riotous chorus along with Koie’s incensed calls of “Everybody come and burn the floor!”

The album’s final 3 tracks, ‘Night Waves’, ‘Afterglow’, and ‘Canopus’ display the experimental sound that the group has begun to explore in their new releases. All infected with an otherworldly ambience and deeply melodic choruses, Koie’s massively improved clean vocals are on full display here; adding an emotive touch to both the band’s softer and louder releases.

Score/Outstanding: For any metalhead not yet acquainted with Crossfaith, this is your sign to go check them out. After almost 20 years of rocking stages across the world, ‘AЯK’ stands as a firm reminder that the self-proclaimed ‘lads from Osaka’ are not playing around when it comes to their outrageously addictive brand of electronicore. Having said this, it is only to be expected from one of the savage titans of the J-Metal scene.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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