Hardcore bands just don't have the integrity that metal bands do. Metal gave birth to metal. Hardcore gave birth to hardcore as well, but then it became a transvestite called metalcore, and much like transvestites themselves, it's not a style that ages very well for precisely that reason. It has forgotten where its roots lie, so it relies upon the latest sound to CTRL+C and CTRL+V on to some semblance of a hardcore skeleton, and then expect to take over the world. Well, and I make no apologies, transvestites will never take over the world. Some will be appreciated, but most will be ridiculed. And so goes the story of metalcore according to the trained musical ear. Diecast has become an abhorrent transvestite. When this album tries to sell me the evolution card, I don't buy it. When Diecast didn't hit it big in 2001, as they likely expected to with the Slipknot-influenced yet enjoyable Day Of Reckoning, original vocalist Colin Shleifer left the band to pursue other career opportunities. I was eager to see where the band would go from that point, so although I resented his departure, I have now completely written the band off and thus I wish Colin a prosperous career away from this soon-to-be cash machine. I say cash machine because of the blatant plagiarism the band commits in using Killswitch Engage as a prominent influence on "Fire Damage," "Torn From Within," "Savior," "Rise And Oppose," "Sacrifice," "Medieval," "Pendulum"... wait a second, that's almost the entire album! I rest my case. Cash machine because of the nauseating vocals that attempt to sound like the almighty Mike Patton, but instead come off sounding like the hermaphrodite child of Darryl Palumbo and Brandon Boyd of Glassjaw and Incubus, respectively. From the Perpetual War demo to Undo The Wicked to Day Of Reckoning, Diecast reinforced my interest in their musical vision with every release. Chunky, crushing riffs, rumbling double-bass, and punishing grooves were what Diecast became known by and were trusted to deliver. For only with such an approach could they have toured with Dying Fetus and All Out War in 2001, and having seen one show from the tour, I can attest to their belonging on it. Three years later, not only would they probably not be asked to tour with those bands, but they would probably be booed off when regurgitated Swedish riffs and embarrassing clean parts hit the audience's ears. New vocalist Paul Stoddard's mid-level scream sounds much like Colin's voice, but by unexpectedly breaking into the laughable clean vocals each song, it thus contributes to ruining nearly every song on the album. If one song could sum up the depths of mediocrity and homogeneity to which Diecast have sunk on this album, it's "These Days." In addition to its main riff plucking a note straight from Himsa's "When Midnight Breaks," it illustrates the band's complete transformation from a hardcore band to a Killswitch Engage cover act. One KSE is enough, two are not needed in this scene. Bottom Line: This album was written with the sole intention of appealing to the adolescent metalcore demographic, who by no coincidence comprise a large part of the future fanbase for this scene. Lyrics like those from "Torn From Within" illustrate my assertion: "I know we can't save the world, I will do my part, so let's get started. Say what you mean, mean what you say, throw your fist in the air." Sorry, but not a former Diecast fan nor a serious metal fan in general will buy that line. If you adore easy to headbang to Swedish riffs with one-chord Hatebreed breakdowns and did not fall in love with Diecast during their earlier state, then this album is for you. Unfortunately, considering how prominent Diecast was before Colin left, odds are the hardcore scene will not be very receptive to this album. In fact they may even take it as a serious insult, as I did.