Apocalyze

Apocalyze is the third studio album by Japanese heavy metal band Crossfaith. It was released on 4 September 2013 through Smaller Recordings in Japan, Search and Destroy Records in Europe and The End Records worldwide. It was produced by Yasuo Matsumoto and Kenya Yamamoto.

Apocalyze
Studio album by
Crossfaith
Released4 September 2013
Genre
Length44:08
Label
Producer
  • Yasuo Matsumoto
  • Kenya Yamamoto
Crossfaith chronology
The Dream, the Space
(2011)		 Apocalyze
(2013)		 Xeno
(2015)
Singles from Apocalyze
  1. "We Are the Future"
    Released: 10 July 2013
  2. "Countdown to Hell"
    Released: 4 December 2013

Background and promotion

The album was recorded at Machine Shop Studios in New York City in January 2013 and will be released mainly through The End Records and Sony Music.[1] Prior to the release of the album, the band released three music videos: "We Are the Future", "Eclipse" and "The Evolution".[1]

Critical reception
Professional ratings
Aggregate scores
SourceRating
Metacritic67/100[2]
Review scores
SourceRating
Alternative Press[3]
Blabbermouth.net8/10[4]
Dead Press!9/10[5]
KillYourStereo82/100[6]
Revolver[7]
Rock Sins9/10[8]
Rock Sound8/10[9]
Sputnikmusic[10]

The album received positive reviews from critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album has an average score of 67 out of 100 based on 4 reviews, indicating "generally favorable reviews".[2] Alternative Press rated the album 3 out of 5 and said: "While their contemporaries may opt for subtler synth lines and catchy riffs, Crossfaith use programming as intensely as metal technicality on Apocalyze. Programmer Tamano Terufumi breaks out dubstep tropes like low-end wobbles and drops, but don't expect glowing hula hoops over jumpkicks in a Crossfaith pit anytime soon. The electronics leave you feeling more like you're inside a violent arcade game than on a dance floor, clean vocals are scarce and the closest thing you get to a slow song is "Counting Stars"—an illusion created by dreamy female guest vocals. That energy makes it feel like there's too much going on, leading to songs blending structurally, downplaying hooks. But the chaotic nature of Apocalyze is what Crossfaith want to showcase, perhaps at the sacrifice of the broader audience they could reach."[3] Blabbermouth.net gave the album a score 8/10 and saying: "While CROSSFAITH may take some listener acclimation with all of their tenacious electronic rakes, Apocalyze is nevertheless a creative and energetic album that grows strength with repeated listens. This album will excite metalcore freaks like it's the dawn of a new era. Like their contemporaries MUCC and DIR EN GREY, this band isn't afraid to dabble, tinker and stretch boundaries largely borrowed from the western sanction. While BORIS continues to reign over the Japanese metal scene in their own modest way, CROSSFAITH will appeal to a broader audience. For certain, expect to hear these guys jacking up a video game or two in the near future."[4]

Dead Press! scored the album 9 out of 10 and said: "Apocalyze has undoubtedly raised the bar exceedingly high, and it wouldn't be unfair to view their position on the metalcore heap rather insurmountable. Seeing these songs come into their own in a live setting is a mouth watering prospect, although it would be wise for venues to re-enforce their foundations now before it's too late. 'We Are The Future' indeed."[5] Scrussel from KillYourStereo gave the album 82 out of 100 and said: "Crossfaith's brand of metal fused with electronic elements is an effective mix, and one that isn't too overdone that is just becomes a mess. Apocalyze hits that perfect ratio, creating a hybrid of sound that may not be fresh or unique but is easily enjoyable. What sets this album apart from others in the genre are refreshing and innovative ideas and some killer riffs that will keep you coming back over and over."[6] Sam Dignon of Rock Sins rated the album 9 out of 10 and said: "Having built up a reputation as one of the most exciting live bands around over the past year, Crossfaith have fast become one of the most talked about bands on the Metalcore scene. Dance and electronics have been a part of Metalcore for a while now but no one has been able to master it quite like Crossfaith. Whilst most bands tended to just throw in the odd electronic section in, Crossfaith completely balance the two elements out, making Apocalyze one of the most refreshing Metalcore albums in recent years."[8]

Track listing
No.TitleLength
1."Prelude"0:28
2."We Are the Future"3:31
3."Hounds of the Apocalypse"3:30
4."Eclipse"3:40
5."The Evolution"3:43
6."Scarlett"3:52
7."Gala Hala (Burn Down the Floor)"4:28
8."Countdown to Hell"3:53
9."Deathwish"3:59
10."Counting Stars"4:31
11."Burning White"3:58
12."Only the Wise Can Control Our Eyes"3:37
Total length:44:08
Deluxe Edition bonus tracks
No.TitleLength
13."Not Alone"3:47
14."Against the Wave"4:01
15."Outbreak"2:45
Total length:53:49

Personnel

Credits adapted from AllMusic.[11]

Charts
Charts (2013) Peak
positions
Japanese Albums (Billboard)[12] 22
Japanese Albums (Oricon)[13] 19
UK Albums (OCC)[14] 137
US Hard Rock Albums (Billboard)[15] 18
US Heatseekers Albums (Billboard)[16] 13
gollark: I mean, I mentioned recursive descent parsing on APIONET beforehand, it's approximately in my overly-onelinery and bad-variable-namey style, it's a technically working lisp but weird and broken in a few ways (negative number parsing!), I think some of the comments are vaguely inaccurate or at least not how someone more experienced with lisps would describe things, and the thing ignored Python idioms a fair bit.
gollark: Thus, leave.
gollark: *May* be, I think.
gollark: Anyway, I'm kind of surprised that nobody got that my lisp interpreter was me, although maybe I'm sinthorionizing slightly.
gollark: It should be a program which hijacks your computer and uses it for bee deployment.

References
  1. "Crossfaith: Eclipse video premiere". The Daily Telegraph. (Telegraph Media Group). 23 July 2013. Retrieved 15 August 2013.
  2. "Apocalyze Reviews - Metacritic". Metacritic. Retrieved 10 January 2014.
  3. Cassie Whitt. "Crossfaith - APOCALYZE - Alternative Press". Alternative Press. Retrieved 10 January 2014.
  4. Ray Van Horn, Jr. "CD Reviews - Apocalyze Crossfaith - Blabbermouth.net". Blabbermouth.net. Retrieved 10 January 2014.
  5. Bliss, Tony (9 September 2013). "ALBUM: Crossfaith – Apocalyze". Dead Press!. Retrieved 15 December 2019.
  6. "Crossfaith – Apocalyze". KillYourStereo. 29 August 2013. Retrieved 15 December 2019.
  7. Paige Camisasca. "Review: Crossfaith – Apocalyze - revolvermag.com". Revolver. Archived from the original on 1 December 2013. Retrieved 10 January 2014.
  8. Dignon, Sam (11 September 2013). "Crossfaith – Apocalyze". Rock Sins. Retrieved 15 December 2019.
  9. Max Barrett. "Crossfaith - Apocalyze | Reviews | Rock Sound". Rock Sound. Retrieved 10 January 2014.
  10. Simon K. (15 July 2015). "Review: Crossfaith – Apocalyze". Sputnikmusic. Retrieved 2 June 2020.
  11. "Crossfaith – Apocalyze; Credits". AllMusic. Retrieved 16 December 2019.
  12. "Billboard Japan Top Albums Sales | Charts". Billboard Japan (in Japanese). 16 September 2013. Retrieved 5 October 2019.
  13. "Apocalyze | Crossfaith" (in Japanese). Oricon. 16 September 2013. Retrieved 5 October 2019.
  14. "UK Charts". Official Charts Company. 21 September 2013. Retrieved 27 May 2020.
  15. "Crossfaith Apocalyze Chart History". Billboard. 21 September 2013. Archived from the original on 27 May 2018. Retrieved 7 October 2017.
  16. "Crossfaith Apocalyze Chart History". Billboard. 21 September 2013. Retrieved 7 October 2017.
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