Sadly, …For We Are Many starts off giving some false hope to the listeners. The introductory track “Now Let Them Termble” bleeds into “…For We Are Many”, and the two work well together to create a much heavier and hard Melodic Death Metal and Metalcore similar to their debut material, leading listeners to think that, perhaps, the band listened to their die hard fan’s disgust. But, one listen to “The Last Time” proves that is not too. This album really pushes things further to a more commercialized output through the much lighter “by numbers” pattern of scream verse, sing chorus, except this time there are more prodominant singing vocals in some of the verse lines with the screaming pushed in the background, or replaced with a horribly failed gristled and rough Hard Rock vocal approach. For those who hated the band’s laswt album, this is about where you’ll just hit stop, and honestly, it just doesn’t get that better from here, as the string of light and simple chorus lines and a slight Hard Rock approach to the singing, really just brings down to bite that some of the music here contains.

One thing about this release that did seem to step up a bit is the clean singing, which suits the softer music of this effort well. “Some of the People, All of the Time” is the perfect example. This song actually does a good job of created a heavy approach to the music, and maintaining it, even during the somewhat simplified chorus thanks to how the instruments are performed, mostly by holding on to the notes and the faster guitar performance. However, the vocals really wind up making this song rather addicting thanks to their very soothing, almost innocent approach to the chorus and some well performed screaming through everything else. This track’s only downfall would be the band’s second attempt to get back to their roots, which comes in the form of a very heavy, deep, and insanely out of place breakdown at the very end of the song that would give many Deathcore acts that insist on playing slow, boring breakdowns a run for their money. After this track, much of the album simply feels like recycled or omitted material off of Overcome, as the song “Won’t Go Quietly” will sound insanely familiar to fans of the song “Two Weeks” during the chorus, clean vocals everywhere, and another simple chorus that isn’t all that enthusiastic by the band, or for the listener, with singing vocals covering the screaming in the background. However, the biggest oddballed tragedy of this song comes in the form of the guitar solo, which is a more bluesy or Classic Rock solo with the distortion that makes the chords played sound like the guitar is talking by a piece in the guitarist’s mouth that alters the sound, laid against another lame and incredibly weak breakdown.

Eventually, …For We Are Many takes a decent turn, leaving behind some of the random “what were they thinking” moments, such as the outlined odd guitar solo and wretched Deathcore-inspired breakdowns. But, by this time, it’s pretty much too late. While there are still some decent songs that follow, it’s all so insanely repetitive and just starts to become extremely boring. “From the Outside”, for example, makes for a decent song, but just follows the same pattern that the band has been using, and is one of the lightest tracks off the album to begin with, holding on a little bit of a kick that would keep the listener attentive the whole time. Even the edgier material that is presented here in songs like “Dead Wrong” really just isn’t worth it, though on it’s own it would be a rather enjoyable track due to the faster, heavier music, but the chorus simply sounds horrible with the singing and more gutteral performance in the background. This track also features a breakdown, and it’s alright for how slow it is, since it follows the much slower chorus, and builds up to a much more enjoyable faster pace and great guitar solo, only to crash back down to that odd Hard Rock stoner-sounding chorus. While there are scattered songs through the end that sound decent, there is honestly no reason for the existence of the closing track, “The Waiting One”, which honestly just sounds like an Alternative Rock ballad period, but with absolutely nothing of interest and comes off as everything we’ve already heard millions of times over. The music simply sounds weak, as much of the album winds up sounding to begin with, and just isn’t all that inspiring a song as there’s no real energy behind anything, even in the vocals.

It comes as no shock, really, that …For We Are Many turned out this way given the band’s more recent success. It’s clear that there are some influences from the bands roots thrown in few and far between on here, and in the end, but it’s really not enough to save it. A good majority of this release simply follows the same pattern, and only tries to change it by adding vocals behind the already patterned vocals, which, in the end, becomes a whole other pattern in itself that actually can ruin some songs. With the band’s, it appears, permanently established lighter, almost mainstream sound, meshed with some often weak and/or generic heavier music, this album shows All That Remains really taking the Melodic Death Metal genre and trying to mold it into a heavier Alternative Rock sound at times, while trying to retain their signature sound. The latter half does feature some material worth checking out, but, again, all becomes too repetitive, so if you feel you need this release, it’s wise to just tread softly and sample …For We Are Many, as, once again, All That Remains fails miserably to capture that sound that put them on the top in the first place, leading to an album where even the best material wouldn’t see more then a second spin. …For We Are Many, honestly, should just be avoided at all costs as there’s much stronger, and far better, material out there.