I Feel The Everblack Festering Within Me, is not just an album, it’s an experience. It’s a film reel of horror and triumph projected through walls of sound so massive they feel like they could shake a cathedral to its foundation. As someone who has lived and breathed this record since I first heard it, I can say without hesitation: I love this album. It is pure cinema.
Following the colossal success of 2022’s Pain Remains, expectations were impossibly high. Many wondered if Lorna Shore would attempt a more streamlined, mainstream-friendly approach after breaking through to a wider audience. Instead, they doubled down on what makes them untouchable: symphonic deathcore at its most terrifyingly beautiful.
The orchestral scope here is staggering. Strings, choirs, and apocalyptic sound design blend seamlessly with blast beats and breakdowns, creating stunning cinematic visuals in your mind. Songs like Oblivion rise with operatic grandeur before collapsing into moments of pure devastation, while War Machine delivers one of the most punishing breakdowns the band has ever written. It’s as if the band has mastered the art of building worlds only to set them aflame.
Technical mastery bleeds through every second. Adam De Micco and Andrew O’Connor showcase their talents with their blackened tremolo riffs giving way to melodic passages. Austin Archey’s drumming is relentless, a mechanized assault that anchors the madness while still injecting that volatility.
And then there’s Will Ramos. If Pain Remains established him as one of deathcore’s most captivating voices, I Feel The Everblack Festering Within Me confirms him as its reigning monarch. His range is staggering, moving from abyssal lows to banshee shrieks that pierce the orchestral veil. It’s not just vocal acrobatics, it’s storytelling. It truly feels like an exorcism on record.
In the end, I Feel The Everblack Festering Within Me isn’t just a follow-up. It’s a cinematic elevation of everything Lorna Shore has been building toward. It is brutal, it is beautiful, it is overwhelming, and I wouldn’t want it any other way. It’s tough to close out a record, but to do it with an almost 10 minute song is an epic conclusion to an epic album.
This is not background music. This is not passive listening. This is a theater of the macabre, a soundtrack to inner battles and outer apocalypses, and one of the most engrossing metal records of the decade.
RATING: FIVE STARS
