Review Summary: Burn This World 2.0
In this very modern day, incorporating electronics to enhance music and oversize the output sound is rather essential to drive the young listeners going or hence, this may appear ostensible for those ones who are overlooking to consistency. With the latter successfully storming the deathcore scene, it is quite enough to hold significant attention. For those new to this controversial fusion of two musical elements, it is not that far from promising. While the said formula might sound interesting and exciting, The Browning’s latest offering,
Hypernova is stale and saturated at all kinds of level.
The band is not new to the scene, producing two full-length albums and two EP’s prior to this release. However, what will be heard from
Hypernova are the same elements presented from past releases, although it’s much more torn-sounding and overused now, nothing new and only extending their previous effort. It is safe to say that
Hypernova is just an exact carbon copy of
Burn This World. The key behind The Browning’s electronicore sound is none other than Jonny Mcbee, the vocalist and the electronic programmer of the project. Back were the electro-breakdowns and groovy synthlines, and you will hear it throughout
Hypernova every now and then.
Mcbee’s vocals are standard to the genre, utilizing deathcore growls which prove to be one of the strength of The Browning. But setting back for worse is the drums and guitars as their sound fades away being dominated by electronics. The band’s overproducing capabilities is sufficient enough to deliver recognizable tracks. “Gravedigger” provides dancey grooves with its immersive intro breakdown and average mid-section inception chugging. It is easily one of the better tracks as it delivers the standard ‘Browning sound. “Invasion” is an energetic intro, providing a minute and a half of grooves and what one could expect through the release. “Slaves”, along with its recognizable background mideastern-esque ‘ayeahs’ and peculiar acoustic chord progressions with crushing riffs, penetrating synths and brutal breakdowns, it successfully unveils one of
Hypernova’s highlights, and The Browning’s one of its finest moments.
This overall sound structure ensues, and it never ends.
Hypernova is enjoyable at some point, thanks to their electronical elements but it is uncreative and average sounding overall. The Browning stays true to their signature sound, but electronicore is misleading at the very least, and this amalgamation is nowhere to be called as a comfort zone at best.
