After the Gothic/Industrial past and Marylin Manson-like shows, the Ohio deadly squad are back - as they like to do by constantly re-inventing themselves - with their DIY second release in a brilliant digipack and a thundering production, thus bringing the worth of the new songs to the peak.
From what I grasped the concept inside the album deals with a girls' serial killer videotaping the tortures and the demises of his victims, till his fixation becomes so obsessive that he decides to end his life by throwing himself under a train. All of this matches with the music and the sounds chosen without the slightest imperfection, increasing the listener's positive effect.
After the cruel intro of "Time to Suffer", "We Are the End" exposes the 3-piece's intention: Deathcore tinged with Industrial, by a cold, militaristic drum machine perfect for their genre and (ultra)low bass sounds.
The recipe for "The Shape of Hate" requires brutal breakdowns, alternated use of screams and growls, fast double kick-drums and a heavily distorted bass: decidedly a successful mix of ingredients that may remind of The Berzerker in the quick structures when the vocals are absent. Quite differently, "Your Life in Playback" prizes Godflesh's lesson highly, adding Fear Factory, Nailbomb on one side and Hatebreed and Whitechapel vocal-wise. This song is also accompanied by a professional official video available here summing up the sick record's concept.
The title track recurs to a Doom beginning, and soon afterwards it reveals itself as the most disquieting and corrosive track thanks respectively to keyboard lines and vocals; particularly recommended for fans of Deathstars and The Kovenant.
From the groovy and crushing "Cut the Throat", made precious by its vocal lines, we get to "The End of Worth", distinguishing itself thru Armageddon-reminding backing vocaled choirs, pretty dynamic drums and penetrating keyboards. Such a wonder is the bass, deep and as heavy as a boulder, dragging you down the abyss as if you were encased in concrete.
"Innocent Victim", merciless and menacious in its atmospherical mid-tempo, changes rhythm when the drums speed up, while the guitar takes all the time it needs for its brush strokes.
Finally, "Where I Reside": desperation set to music concludes this journey with the guitarist who, instead of the usual razor-slashes, chisels a series of tunes of human misery.
Margin Of Error won’t just be a band to be respected; by attrition they’ll have to be feared and their second full-length is a masterpiece in terms of music, lyrics, arrangements and sounds.
Margin Of Error are coming for you!