REVIEW: Whitechapel – Hymns in Dissonance [2025]

Artist: Whitechapel
Album: Hymns in Dissonance

To paraphrase a recently-deposed rapper, things get a little weird after two decades of dominance. Formed in 2006, Whitechapel rapidly established themselves as one of deathcore’s Mount Rushmore bands—a title that has yet to be stripped nineteen years later. With that said, that doesn’t mean they haven’t tried some new things here and there, and it wouldn’t be a stretch to state that records like Kin are a far cry from This is Exile. Why all this exposition? Well, you can imagine, when rumors that Whitechapel were going “heavy again” began to circulate—coupled with photos of frontman Phil Bozeman with a shaved head and in something akin to war paint, in a measure roughly akin to throwing on the black Air Force 1s—the response from heavy music enjoyers worldwide was uproarious. A year later, we’re graced with the band’s ninth full length record, Hymns in Dissonance, and I’ll cut to the chase: heavy Whitechapel is indeed back. With nary a cleanly sung syllable to be heard and more downtuned, explosive breakdowns than the listener can spinkick at, this Knoxville outfit handily demonstrate that their fangs haven’t grown dull in the time they’ve spent experimenting with melody, and they can still riff, chug and guttural with the best of them.

In a single word, Hymns in Dissonance is huge. Everything about the release sounds immense, with cannon-fire kick drum working in a devious dialectic with leviathan fretwork and mountain-leveling bass—Hymns in Dissonance is a true cacophony of crushing chaos. The ominous, slow-burning introduction to “Prisoner 666” alongside the tasteful touches of ethereality sprinkled throughout “Hymns in Dissonance” and the closing section of “Nothing is Coming for Any of Us” highlights the band’s trio of guitarists Ben Savage, Zach Householder and Alex Wade excellently. However, the two don’t only shine during the rare moments of relative calm—“Bedlam,” as well as “Mammoth God” showcase their technical skills and tight-knit dynamic beautifully, while the closing breakdown to the record’s title track is a stunning example of how they inventively push the envelope when it comes to making something awe-inspiringly heavy. The trio aren’t the only ones in Whitechapel worth their weight behind a fretboard, however. Bassist Gabe Crisp is no slouch, adding dense heft to the band’s heaviest moments—like those in “Diabolic Slumber” and “A Visceral Wretch.” This is all overtop of outright stunning percussion from Brandon Zackey. Zackey’s ability to blast with the ferocity and candor of a gatling gun is put on display throughout Hymns in Dissonance, as is his ability to slow down and play a ferocious pocket groove throughout “Prisoner 666” and “The Abysmal Gospel.” Zackey’s immense percussion is a breath of fresh air, blending technical mastery with a stunning use of tact—making many of Whitechapel’s instrumental moments of brilliance just that much more brilliant.

I don’t really even need to write a whole paragraph about Bozeman’s vocal talents. If you’re this far into the article, you probably already know what Bozeman is capable of. But, for the sake of completeness, I’ll wax poetic about his talents. Hymns in Dissonance is the closest Bozeman has come to sounding like the Goliath that dominated Suicide Silence’s “Unanswered,” or gave us anthems like “Vicer Exciser.” This isn’t to say he’s ever sounded bad, but the pure ichor and bitter hatred that drips from every syllable of those songs once more permeates the entirety of Hymns in Dissonance. “A Visceral Wretch” is probably the single best example of Bozeman’s high and low range working in a purely perfect dynamic, however songs like “Bedlam,” or “Diabolic Slumber” come pretty close as well. The truth is that Bozeman is simply among the best at what he does—if not the best—and you don’t even really need to be a Whitechapel fan to realize or appreciate it, though with a release this solid, it’s hard not to be. Bozeman continues to deliver a comprehensive and crushing performance atop the finest instrumental soundscape Whitechapel have offered in some time—and the result is staggering.

Hymns in Dissonance is the best Whitechapel have sounded in some time—and it is likely also the first Whitechapel release I’ve thoroughly enjoyed from the first time I heard it (I am a currently reformed Whitechapel hater). “Nothing is Coming for Any of Us” is a strong contender for Whitechapel’s best song ever—certainly in the top ten at least—and many of the other cuts from Hymns in Dissonance aren’t far behind. It isn’t perfect—there are some moments that seem tame compared to the primal heights of “A Visceral Wretch” and “Diabolic Slumber,” and I’m still not sure how excited I am to hear a band chant “666” in the year 2025—but its damn good, and a testament that you don’t need to teach an old dog new tricks when they’re still able to keep up with the young pups.

8/10
For Fans Of: Lorna Shore, Crown Magnetar, Suicide Silence, Despised Icon
By: Connor Welsh