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Job for a Cowboy has always been a group I never could really get into. Their earlier Deathcore style wasn’t for me, and when countless drones repeated their music, it started to bug me. When the group went Death Metal, I didn’t care so much as I didn’t find that to be all that great either, and when they essentially became the cult leaders of Deathcore bands, causing other acts to shift styles to emulate their every step in unfaultable worship, well that just kind of broke me honestly. It wasn’t that I dislike the group solely on their popularity, but in the fact of how big an impact they apparently made with music that wasn’t a lot more bland compared to helping kickstart the Deathcore sound, which I respected them for regardless of what I thought of it. Right now I’m clearly just going on to fill up space. The fact of the matter is that I really don’t want to hear Democracy. Ruination was a good album overall, but it’s just that: Good. So, without further delay, here is my first impression of the upcoming Job for a Cowboy release, Demonocracy.

“Children of Deceit” opens up like you would expect from recent Job for a Cowboy, and it isn’t really half bad. The start hammers away with a really fast pace, and the bass sticks out quite a lot with some clearly plucked chords and a twang to the performance at times that lets it stand out a little more. The vocal range is good, and actually feels a lot stronger both with the higher rasp and the main guttural approaches. The drums hammer away with great speed in some parts, treading into blast beat territory, while the main verses find a little bit of a groove utilized. It’s a pretty intense song that has my head banging along through most of it, though the half way mark sends it spiraling into a creepy, trudging pace that comes off as a more active breakdown that didn’t really need to be there, though not that bad a section for the song. The track ends rather abruptly, which ends up hurting the final punch considering it sounds like it was meant to end when the instruments ring out, but instead sounds like the recording just cuts off.

“Nourishment Through Bloodshed” hammers away at the same pace, but brings in a bit more complexity to the chords in comparison. It offers up a stronger maniacal presence from the music with the only consistant, grounded element of the track. While “Children of Deceipt” went on for over four and a half minutes, which did prove to be a test in some parts, this track feels a lot more fluid from the start, and doesn’t have me sitting here watching the song progress bar at the bottom of my screen counting the seconds until it ended. Again, another slower section creeps up, but it hits at the two and a half minute mark, and is a very short build to some mid-paced material works for the song. The guitar work at the end sounds quite different compared to the rest of the song, and far from the bludgeoning aspect the rest of it carried, actually ending with a slightly lighter note that works out well.

“Imperium Wolves” amps up the intensity, though doesn’t really offer too much out of the ordinary from the last two songs. Some slower passages exist, but again much of the song seems to be built up from machine gun bass kicks and blast beats. The chaotic music returns, but this time the vocals end up matching much of the madness, having the rasp approach reach higher levels, as well as just using them a lot more in comparison. The off the wall nature of the music has plenty of shifts in speed, energy, and heavily varied riffs, most of the time just hammering in with a knee-jerk transition. Around the three minute and forty seconds mark, a breakdown hits, but it isn’t too bad really. Actually, it feels a little unique. Through much of the song I kept getting a slight Black Metal feel, and the chorus seems to really cement it. Abigail Williams pops into my heard if I have to compare it to anything, but sans the symphonic elements of course, and a little more suited to Death Metal than the crawling Deathcore kind with three to four second gaps of silence. After it, there’s also an audio sample that features some shouting and eighties Horror b-movie keyboard ambience. It isn’t needed, but it doesn’t really hurt anything.

Finally, “Tongueless and Bound” throws everything back to “Children of Deceit,” featuring some more technical material that has a nice bass presence with the twangy chords and possibly plucked notes showing through more as a dominant force. The music constantly shifts in a subtle manner that feels fluid, and still offers up a great amount of intensity from start to finish, even during some of the slower passages that mix in simpler atmospheric chords with random bouts of intricate madness. The guitar solo here is quite impressive, and feels more like what you should expect on a Heavy Metal album, or something popularized recently by the television-based band Dethklok.

Overall, I was impressed by what I was hearing. It seems that since Job for a Cowboy did drop their signature Deathcore sound and go into the traditional Death Metal field, they have continued to grow musically with every album, and Demonocracy is no exception. Only a few tracks in and I’m really anxious to sit down and hear the entire thing, and anyone who is a fan of their current sound definitely should be excited by this release.

Article based on digital review material provided by Metal Blade Records.