The Chariot may currently be known as the new venture from former Norma Jean vocalist Josh Scogin, but this debut effort looks to change that. An atmospheric plunge into some of the rawest, most convoluted metalcore heard this year, the band pick up where "Bless The Martyr And Kiss The Child" left off and toss themselves into a whirring metallic abyss. Recorded live in the studio without the aid of computer wizardry, this album retains a frenetic energy that galvanizes its primal nature.

A disjointed and explosive display of sonic collisions take place through shrill riffing and thundering rhythm section driven meandering as song structures are foregone in favor of the heat of the moment emotion. Scogin's ferocious vocals unravel with conviction and force as the group immerse themselves in environments that would almost recall the likes of Neurosis if they weren't so enraged and direct. Brutishly heavy, The Chariot are not one to relent as melody makes up for about .5% percent of this release. But while this carnal assault does well to rival a natural disaster in the amount of damage done. It's lack of sharp focus and precise elements can quickly become unnerving and futile.

In fact, after a few songs into the release one can't help but feel they are experiencing auditory devastation for the sake of only devastation with no higher purpose. Of course this bluntness induces a cathartic reaction, but adrenaline can only course through the listeners veins for so long before their body begins to shutdown. Music from the metalcore genre is rarely this impassioned and genuine, and these qualities alone make The Chariot a welcome ride to take. But with little more than unrelenting waves of noise and sonic waffling on hand, many will likely want off before their stop is reached.