CRYSTAL LAKE
The Weight of Sound
Century Media

CRYSTAL LAKE are no strangers to the modern metalcore conversation. Formed in Tokyo, in 2002, the band has spent more than two decades carving out a reputation that balances aggression, melody, and experimentation. I’ve listened to CRYSTAL LAKE here and there over the years and caught some of their Resurrection Fest footage, but they’ve never been a band I followed closely. When The Weight of Sound came across my desk, I figured, why not? Let’s see the evolution. I’d also heard they had a new member stepping in on vocals, which made this feel like a good point to really sit down and give the record a proper listen.

This album doesn’t ease you in. You ever been kicked in the face with spikes attached to a boot? That’s how it starts. “Everblack” hits immediately! No buildup, no warning. David Simonich coming in right out of the gate feels intentional, like CRYSTAL LAKE making a statement. The breakdown around the 1:30 mark absolutely lands! Although the mid-song samples feel more like filler than tension builders. They don’t derail the track, but they don’t add much either. Still, as an opener, it does exactly what it needs to do and locks you in.

“BludGod”, keeps the onslaught going. The quieter pinch harmonics add just enough restraint to make the heavy parts hit harder, and the tempo change around the two-minute mark is perfectly placed. It pulls everything back, rebuilds anticipation, and then drops you straight back into the pummel. Taylor Barber fits the track naturally, adding grit without overwhelming it.

“Neversleep”, is frantic and relentless. What do you get when you chug chug, cymbal cymbal, then unleash pure fury? This track. The line “it’s going to be alright” sounds less like reassurance and more like a lie you keep telling yourself until it breaks. Myke Terry’s guest spot is exactly how a feature should be handled. He doesn’t hijack the song or soften it. He adds pressure, amplifies the chaos, and gets out.

“King Down”, is a mixed bag. The chorus is really the only thing I like about the song. It hits and sticks, but everything around it feels serviceable rather than memorable. It’s not bad, it just doesn’t leave much of an impression outside that hook.

“With The Undertow”, the album clearly starts leaning away from extreme metalcore and into more melodic territory. That shift might not click immediately for everyone, but this is a track that grows with repeat listens. Placement matters here. Unfortunately, most people don’t listen to albums front to back anymore. They cherry-pick songs and build playlists. I’m not that guy, but it’s the reality. In context, this is a strong track that carries tension and weight.

The title track, “The Weight of Sound”, continues that shift and absolutely nails it. The guitars are strong, the melody is locked in, and there’s just enough harmony layered with gutturals to keep it heavy without going soft. This feels like a defining moment for the album rather than just another song. This one will be played live, and it’s going to land every time!

Then comes “Crossing Nails”, and honestly, holy shit! Play this live! This is the song that grabs you and hooks you into an album. This should have been the opener; or at least track two. Everything you want from a metalcore band firing on all cylinders is here. The gutturals hit hard, the energy never dips, and the breakdown being placed dead center feels intentional instead of predictable. The line “the devil in the back of my mind waits on the devil in you” sticks with you long after the track ends.

“Dystopia” is where I know some people will disagree with me. Don’t kill me, KSE fans, but I don’t think Jesse Leach’s vocals fit the fury and fire of this song. Instrumentally, the intensity is there, and the track is placed properly within the album. The guest spot just doesn’t land for me. This feels like something that could have been handled internally or even strengthened with dual vocals happening at the same time. Jesse Leach is an amazing vocalist. I just don’t like how he was used here.

“Sinner”, brings the intensity back up. This is the jam for the car. It hits hard, keeps moving, and doesn’t waste space. The breakdowns land, the chorus grabs you immediately, and the melody is balanced perfectly with the background vocals. In today’s landscape, this is what a well-composed metalcore song on an album sounds like.

“Don’t Breathe”, brings the spikes back right from the intro. The song is broken into four distinct parts, and that might be too much for some listeners, but I respect the ambition. If the highs matched the rest of the track consistently, this could have been one of the best songs on the album. As it stands, it’s just good. That said, the “DON’T BREATHE” moment around the 2:45 mark, stopped me cold. I had to rewind and hear it again.

“Coma Wave”, is where the album loses me. The first two minutes feel like a complete downward spiral for everything the record had built up. I don’t understand the decision to close the album this way. I get wanting an emotional builder, but this track should have lived in the middle of the record during the shift into more melodic metalcore. As a closer, it drags and undercuts the momentum. It feels like hearing “COMA WAVE” shouted for five straight minutes. The only thing that saves it is the album looping back into Everblack, which feels like getting punched in the face with nails again.

In the end, The Weight of Sound lands at a 3 out of 5 for me. One thing that needs to be said is that I’m never a fan of half an album being stacked with guest appearances. CRYSTAL LAKE’s work is strong enough to stand on its own. One guest, maybe two, fine. But when it becomes a recurring crutch, it starts to feel unnecessary. This album has flow issues, particularly in track placement, but it’s still an enjoyable release overall. If you’re already a fan of CRYSTAL LAKE, they’re clearly heading in the right direction. If you’re new and enjoy this style of heavy music, the guest appearances, especially Jesse Leach, will add an extra layer of appeal.

3.0 Out Of 5.0