Killswitch Engage’s new offering ‘The End Of Heartache’, which hit stores last Monday, went into the UK album charts yesterday at number 40! Congrats go out the the guys- a truly well deserved result! Another triumph was their recent review in Kerrang! where they recieved a whopping 5K’s: “The kings of modern US metal fiercely guard their throne… THE LOWDOWN: The last Killswitch Engage album, 2002’s ‘í¢ä‰åŒ_Alive Or Just Breathing?’, was a an astonishing collection of flawless contemporary metal anthems that skilfully bridged the gap between the old school values of Scandinavian death metal and the more trend퉌_conscious capriciousness of the 90s hardcore scene. The response, in the UK at least, was deservedly ecstatic and the band found themselves flying up the greasy pole of popular acceptance, unexpectedly selling out shows at the Astoria in London in the process. Anyone still claiming that metal had had its day was beginning to look very stupid indeed. Okay, it would be good if a few of the Europeans (In Flames, Arch Enemy, Soilwork <>) whose clothes the new breed of American metal bands have deftly borrowed and modified could enjoy the same amount of media attention, but even if the so퉌_-called New Wave Of American Heavy Metal is a rather questionable concept, you won’t find any genuine metal fans complaining. All this supposed movement needs now is a band to take it to the next level and, perhaps predictably, Killswitch Engage have raised their game and delivered a second stone퉌_cold classic in a row. The differences between ‘The End Of Heartache’ and its predecessor are subtle. The same blend of melodic death metal riffs, crushing metalcore breakdowns and soaring vocal hooks remain, but whereas the previous album often kept those elements separate, this time the fusion is seamless and the songs that have emerged are <> as simultaneously brutal and beautiful as ‘My Last Serenade’, the undoubted high point last time around. Vocalist Howard Jones (who stepped in just as the last album took off) makes a big difference, his formidable range and versatility adding a level of almost Mike Patton퉌_esque charisma to proceedings. Whether it’s the ominous, lumbering ‘A Bid Farewell’ or the perfectly paced pathos of the title track, Jones has stamped his authority on the Killswitch sound and transformed the band from world class contenders to undisputed champions. Lyrically, too, Jones brings a refreshing touch of cautious optimism to a style of music that often revels in exclusive negativity. With lines like <<í¢ä‰åŒSleep brings release, and the hope of a new dayí¢ä‰åŒ_í¢ä‰åŒ>> (‘The End Of Heartache’) and <<í¢ä‰åŒWhen darkness falls, we are reborní¢ä‰åŒ_í¢ä‰åŒ>> (‘When Darkness Falls’) and uplifting melodies to match, these songs are custom built for joyful mass sing퉌_alongs. The consistency here is remarkable. Every single song has a chorus to die for, and always amid a flurry of riffs and razor퉌_sharp rhythmic ideas. It’s like an inspired hybrid of Faith No More’s ‘Angel Dust’, Carcass’ ‘Heartwork’ and In Flames ‘Colony’, and if you’re familiar with <> albums you’ll already be drooling at the prospect of introducing your ears to this immaculate piece of work. KKKKK DOM LAWSON” The End Of Heartache is in stores NOW and you can catch the guys on tour this June. Check out the TOUR