“Djent”, the onomatopoeic subgenre of progressive metal continues to be a trigger-word, dividing metal “purists” from the new “scene” fans for almost a decade now. Meshuggah is touted as inadvertently seeding the genre with their extended range low-end focused off-timed madness, and the world followed suit. The mid-2000s saw a decade worth of copycat bands springing out of the woodwork, many seeking to innovate within the genre or fuse the clichés with those of other genres, like metalcore, and even death metal. In this bog of mediocrity, very few bands leapt out as noteworthy in this popular but micro-genre. Being one of the few remaining “Sumerian-core” bands still releasing material in 2019, can After The Burial still stay relevant in fading subgenre?

Meshuggah may have invented the genre, but Periphery made it popular; Veil of Maya made it weird, Born of Osiris Phrygian-ed it to Egypt and back, and After the Burial arguably made it fun! The opening track of 2019’s Evergreen and only released single Behold the Crown immediately drives that point home with a pinch-harmonic laden main riff/breakdown that is annoyingly catchy and sets the mood for the entire album. Evergreen is neither a technical nor a progressive metal masterpiece, but it IS very enjoyable and light-hearted, to a point of being remarkably upbeat and hopeful via the melodies that are found on the record.

After the Burial is the MASTER of releasing tracks and albums that are full of memorable hooks, ones that force the listener to grin with childish glee; an oft-forgotten vibe in progressive metal and the entire genre. In addition to the first single, tracks like Exit, Exist ­mimic Collapse (off 2016’s Dig Deep) with its fast-paced low-end chug-bend-fest, and In Flux opens with a My Frailty (from In Dreams) intro dissonant riff before diving head first into an off-kilter but high BPM riff that becomes instantly memorable. In contrast, tracks like Respire are much more straightforward with an increased focus on drawing from hardcore and metalcore influences with staple chug overlaid with melodies and are an instant playlist addition for all the gym going fans! Evergreen is largely “happy” sounding, with major progressions, continuing the “fun” aesthetic that ATB have cemented through each of their previous records, though Quicksand is notably different, opening with a minor-chord infused dark vibe, carried through the song.  At first, the moody riffs and slower pace feel a little out of place but serves as a wonderful breather from all the chuggy-djenty-goodness. Penultimate track To Challenge Existence is where After the Burial really abuses the low-end extended range sound that has become synonymous with the band itself, reaching maximum bass-free low-end “SKRONK!” with its main riff. It is the Mire (from Dig Deep) of Evergreen.

The trademark sound comes from After The Burial’s semi-stable lineup over the last few albums. This is the second record since the tragic passing of guitarist Justin Lowe and is the first record solely helmed by fellow guitarist Trent Hafdahl, who is the mastermind behind all the magic in Evergreen. His chugs, riffs, melodies, and solos flow seamlessly, are memorable, and never fail to be just plain fun. As much as the guitar work is expectedly top-tier, the drums and bass are largely forgettable. The drums do a perfectly respectable job of maintaining the groove set by the guitar chugs with the antithetically-expected off-beats, ghost-notes, and syncopation, but never really leap out with any stellar moments. The bass is almost entirely lost in the mix, a thorn in many a “djent” band’s sides. With a tremendous emphasis on low-end seven/eight string registers, it is easy for the bass to get completely drowned out, and while earlier records have the bass stand out by playing at a higher octave, Evergreen could very easily be a bass-less record and is poorer for it. Vocalist Anthony Notarmaso is one of the most recognizable staples of the “Sumerian-core” microgenre, and his performances on Evergreen are equally recognizable, yet with zero innovation. Clearly, Evergreen is being carried by Hafdahl’s creativity and prowess.

In a world of increasingly overthought and bloated yet forgettable progressive “djent”, After The Burial prove why the are genre giants, and could not have picked a more aptly named record. Their signature sound truly is Evergreen. If you are someone who likes their metal to be pure headbanging, grooving, bopping experience, without pretentious subtleties, this record is definitely for you!