ALBUM REVIEW: The Weight Of Sound – Crystal Lake
The Weight Of Sound is likely to be a pivotal album for CRYSTAL LAKE. The Japanese five-piece haven’t released a full length since 2018’s Helix, and this is also their first following the departure of beloved frontman Ryo Kinoshita. Now with American singer John Centorrino on the mic, they’ve re-established their live credentials but have yet to show what they can do in the studio. This record could be make-or-break.
So, it’s with some relief that we can say that The Weight Of Sound is an impressive return to form. They’ve wisely stuck to their established formula and given us eleven tracks of pulverising metalcore with a sweetly melodic edge, some big old choruses, and a sprinkling of unorthodox flourishes that gives them a certain character. It’s not a game changer, but it is a reliably entertaining collection of pit-fodder and singalongs that should slot nicely into their live shows.
It doesn’t mess around either. The opening Everblack dives straight in with some furious riffage and Centorrino’s glass-gargling screams. It’s a fast, aggressive kick-off, and segues nicely into the punishing BlüdGod. This one is shorter and nastier, CRYSTAL LAKE choosing to focus on the heavier end of metalcore, before throwing in a few curveballs on Neversleep. This third effort is just as brutal, but there are traces of drum ‘n’ bass bubbling under the surface, along with the first big hook of the record. The climactic breakdown is one of the heavier moments on here, and there’s a hint of electronica backing it up.
They’re so intent on raging, that it’s not until the halfway point that The Weight Of Sound gives you much chance to breathe. The title track is a soaring highlight, with some beautifully addictive vocal hooks and a genuine sense of optimism. While it has its serene moments though, it still gets as gnarly as a Pitbull and we’d put good money on this becoming a live favourite. It’s an excellent song, a perfectly executed slice of modern metalcore and comes across like a natural evolution of their Helix-era material.
There’s some quality metalcore in the second half of the track list too; Crossing Nails is a beefed up, macho number that comes across like BLEED FROM WITHIN at their most thrashy, while the closing duo of Don’t Breathe and Coma Wave round things off nicely. The first is a high octane four minutes of circle pitting, while the latter is a gentle, piano-led ballad. It’s a bit out of left field, and sees CRYSTAL LAKE turning into misty-eyed crooners, but it works. It’s a heartfelt number and contrasts pleasantly with the thirty-six minutes of carnage preceding it. We expect that some of their fanbase will hate it, but it makes for a memorable closer.
Whilst The Weight Of Sound is enjoyable and absolutely flashes by, it’s not an insta-classic. There isn’t a single bad song, but it could have done with a few more on the level of the title track. They also don’t utilise the guest appearances to the best effect. There are members of SIGNS OF THE SWARM, KILLSWITCH ENGAGE, ISSUES, SEVEN HOURS AFTER VIOLET and MISERY SIGNALS all showing up, but while some of them are pretty cool, a few leave no significant impact and might as well be superfluous.
With everything in mind though, The Weight Of Sound is a welcome return for CRYSTAL LAKE and a strong start for metalcore releases in 2026. And to be frank, they’ve always been known as a live band first and foremost. Every single cut on here is going to be immense in a packed venue and they’ve done nothing that’ll damage their reputation. Considering the band have to cross the Pacific Ocean to rehearse together, it’s nothing short of remarkable.
Rating: 8/10
The Weight of Sound is set for release on January 23rd via Century Media Records.
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