Whitechapel recently unveiled an inventive visual counterpart for the track ‘I Will Find You,’ originating from their magnum opus, ‘Kin’ which serves as an introductory piece. ‘I Will Find You,’ occurs immediately after the concluding track of ‘The Valley,’ titled ‘Doom Woods.’
This narrative shift witnesses Bozeman transitioning into his existence after the incidents depicted within the preceding album. He elucidates, “I am being followed by my alternate reality/evil self. It’s the part of me that can’t let go and will go to any heights to find the real me and pull me back into the dark past that I want to move on from.”
The visual accompaniment was skillfully crafted and executed by David Brodsky of MyGoodEye Visuals, synchronously coinciding with the ensemble’s readiness to embark upon a United States headlining expedition. During this sojourn, the group intends to render a live performance of their critically acclaimed 2019 opus, ‘The Valley,’ in its comprehensive totality.
Whitechapel’s imminent excursion signifies the ensemble’s inaugural headlining endeavor in a quadrennial period, primarily attributable to the widespread pandemic. Accompanying the group throughout this forthcoming tour are Archspire, Signs of the Swarm, and label compatriots Entheos. In addition to performing ‘The Valley,’ Whitechapel is slated to present an elongated encore featuring an array of quintessential, crowd-pleasing compositions. This extraordinary month-long journey commences on April 14th in Atlanta, Georgia, and culminates on May 13th in Nashville, Tennessee.
Whitechapel, a band hailing from Knoxville, Tennessee, have indubitably made an indelible mark on the deathcore scene. Since their inception in 2006, they have ceaselessly pushed the boundaries of their genre, crafting a unique sonic identity. The band’s moniker pays homage to the Whitechapel district in East London, the very setting for the notorious Jack the Ripper murders of the late nineteenth century.
The ensemble’s origins can be traced to the collective aspirations of Phil Bozeman (vocals), Ben Savage (lead guitar), Alex Wade (rhythm guitar), Gabe Crisp (bass), and Derek Martin (drums). The quintet rapidly garnered a substantial following through their fervent live performances and unwavering dedication to their craft.
Whitechapel’s ideology can be characterized by themes of darkness, internal struggle, and societal critique. Their lyrical content often delves into the depths of human nature and the world at large, unearthing the sinister and macabre aspects that pervade both. Furthermore, their music serves as a cathartic release, allowing listeners to confront and process their own inner turmoil.
Whitechapel’s debut album, ‘The Somatic Defilement,’ released under the auspices of Candlelight Records on July 31st, 2007, exhibits the band’s nascent yet potent sound. Each track is imbued with relentless aggression, fusing guttural vocals, intricate guitar work, and pummeling drums to create an unyielding sonic assault. The album cover features a macabre tableau, perfectly encapsulating the dark themes pervading the record.
In their sophomore effort, ‘This Is Exile,’ released via Metal Blade Records on July 8th, 2008, Whitechapel displayed a marked evolution in their songwriting and musicianship. The album is an amalgamation of ferocious breakdowns, technical proficiency, and thematic depth. The cover art, depicting a dystopian wasteland, serves as a visual allegory for the existential exile explored throughout the album.
On June 8th, 2010, ‘A New Era of Corruption’ was released, Whitechapel’s third full-length offering, saw the band further refine their sound, delivering a more polished and cohesive effort. The album, also released under Metal Blade Records, boasts a diverse array of tracks, ranging from anthemic crowd-pleasers to somber introspections. The cover artwork, an intricate illustration of an apocalyptic landscape, reflects the tumultuous themes of corruption and chaos.
The eponymous ‘Whitechapel,’ the band’s fourth studio album, marks a pivotal juncture in their career. Released once again through Metal Blade Records on June 19th, 2012, the record showcases a newfound maturity and musical dexterity. The album features a refined balance between brutality and melody, demonstrating the band’s growth as musicians and songwriters. The cover art, which exhibits an ethereal, haunting visage, mirrors the introspective and emotive nature of the lyrics.
‘Our Endless War,’ Whitechapel’s fifth studio album, is an unrelenting exploration of the band’s sociopolitical convictions. This release, released on April 29th, 2014, also under Metal Blade Records, presents a dynamic sonic landscape, replete with complex rhythms and compelling lyrical content. The album cover, showcasing a menacing figure shrouded in darkness, serves as an emblem of the omnipresent, nefarious forces examined throughout the record.
‘Mark of the Blade,’ the band’s sixth full-length endeavor released on June 24, 2016, introduces a fresh dimension to Whitechapel’s sound. The album, released through Metal Blade Records, incorporates clean vocals and expansive melodies, all while preserving their signature ferocity. The cover art, which features an enigmatic emblem, symbolizes the indelible mark left by the metaphorical blade.
Whitechapel’s seventh studio album, ‘The Valley,’ presents a deeply personal narrative, delving into the harrowing experiences of vocalist Phil Bozeman’s upbringing. This March 29th, 2019, Metal Blade Records release is characterized by its emotive vulnerability and atmospheric elements, intertwining with the band’s unyielding intensity. The album cover, an evocative portrayal of an ominous valley, encapsulates the dark and foreboding themes explored within.
Whitechapel’s eighth studio album, ‘Kin,’ signifies yet another milestone in the band’s storied career. This Metal Blade Records release from October 29th, 2021, sees the ensemble exploring new sonic territories while maintaining their deathcore roots. The record delves into themes of family, unity, and the intrinsic connections that bind humanity together.
‘Kin’ is characterized by its remarkable versatility, seamlessly blending crushing riffs, thunderous drum work, and visceral vocals with haunting atmospherics and introspective moments. The album’s striking cohesion, despite its stylistic diversity, is a testament to the band’s maturation and ever-evolving musicianship.
The album cover art for ‘Kin’ features an intricate, surrealistic depiction of familial bonds, with intertwined figures that evoke the complexities and emotional weight of the relationships explored within the album. The artwork serves as a visual metaphor for the underlying themes, effectively capturing the essence of the record.
Standout tracks on ‘Kin’ include the powerful opener ‘I Will Find You,’ the melancholic ballad ‘Orphan,’ and the unrelenting, heavy-hitting ‘Anticure.’ Each song showcases a distinct facet of Whitechapel’s musical prowess, painting a comprehensive portrait of the band’s creative vision.
‘Kin’ represents a significant evolution in Whitechapel’s discography, demonstrating their ability to transcend genre boundaries and create a deeply resonant and emotive album. The record’s introspective themes, coupled with its diverse sonic palette, serve to solidify the band’s status as one of the most innovative and compelling acts in the deathcore scene.
In supplementary developments, Whitechapel is scheduled to grace the stage at the illustrious Louder Than Life Festival, transpiring between September 21st and 24th in Louisville, Kentucky. The festival boasts an exceptional roster of rock virtuosos, encompassing acts such as Foo Fighters, Green Day, Tool, Queens of the Stone Age, Weezer, Rancid, Corey Taylor, Coheed and Cambria, among numerous others.
‘The Valley’ is an auditory creation that underwent a meticulous mixing process by David Castillo, mastering by Ted Jensen, and was produced under the astute supervision of Mark Lewis, renowned for his work with Cannibal Corpse and The Black Dahlia Murder.