Review: Breach of Demise – At the End of All

I remember once, several years ago, when I was jamming with a bandmate. When he came over to set up his gear in the garage, I mentioned that I had been listening to a lot of deathcore lately – everything from Suicide Silence to With Blood Comes Cleansing. I might as well have said I was a huge Limp Bizkit fan considering his reaction. He replied with something to the effect of “Deathcore is dead dude,” and cringed. This was almost ten years ago.

And yet here we are in 2026, and deathcore is experiencing something of a revival in the Christian scene. Bands like Voluntary Mortification, (Un)worthy, and Desolate Tomb are leading the charge, and the art of the breakdown is still en vogue. 

But there’s more to deathcore than just breakdowns, and there’s more than one kind of deathcore. In this case, we’re talking about the style known as technical deathcore. One name you’ve probably not come across is a little act called Breach of Demise, a project that’s been going since 2021, but have only just recently released their full-length debut album, At the End of All. 

I’ll come right out and say it up front – tech-death, and in this case, specifically technical deathcore aren’t my cup of tea, though I can appreciate it. I am well aware that there are tech-freaks out there who love this kind of stuff, and just as I can sit and listen to a black band ride the same riff for minutes on end and love it, so can a tech-death fan drown themselves in endless flurries of riff salads and love it too.

And if those aforementioned riff salads are your thing, dig in. Breach of Demise pulls out all the stops on every track, and much like the newer crop of deathcore acts, really hones in on being as brutal as possible (In the Midst of Lions and A Thousand Times Repent this is not). In the vein of bands such as Beneath the Massacre and Rings of Saturn, Breach of Demise offer up a cosmic-tinged blend of classic brutal deathcore and highly-technical guitar work that sets the band apart from other acts that focus more on simply being as crushing as possible. This isn’t a cave troll hitting you with a giant club, it’s death by a thousand cuts.

I sometimes think that albums like this are for musicians first and listeners second. The sheer talent on display here with the guitar work is stunning, and offers endless riffs to be learned by the listener. Yes, the guitars often chug along in standard deathcore fashion, but it’s never too long before they dive headlong into an atonal string of hyperactive, almost bleeping notes that sound like a computer system going haywire. This electronic-esque storm of sweeping arpeggios ends up being distracting in my view, stealing from the impact of the slam-adjacent heavy breakdowns and monstrous gutturals; but then again, this isn’t straight up deathcore. It’s meant to be jarring, it’s meant to overload the senses. This is deathcore that shifts violently and without warning more often than not, relying more on dazzling time-signatures and frenetic guitar work than on simply pummelling the listener with atypical deathcore bravado. It’s the musical equivalent of a flashbang grenade in terms of its effect.

For myself, I found my reaction to the songs varied wildly; the title track overwhelmed me with its constant soloing to the point where I felt annoyed, but the album closer “Divine Retribution” masterfully managed to exude a feeling of cosmic horror in terms of its start-stop slams and ominous vocal work. In between, I simply sat stunned by everything going on.. Like I said, I’m out of my element here in many ways. Bands like Cryptopsy and Decapitated I could handle, but this level of technicality is on a different level. It’s progressive, polished, and a bit alien. And for someone like myself who prefers style and raw impact over substance and structure, I definitely find myself on the outside looking in when it comes to this album.

Lyrically, At the End of All is content to use the end times as their main subject matter, much in the same way that With Blood Comes Cleansing did on their sophomore album, Horror. For me, it’s pretty standard metal fare to use the content of St. John the Theologian’s Apocalypse as lyrical fuel; it works, but I do wish the content would be approached differently than simply listing off the cataclysmic events of the apocalypse in itinerary fashion. 

In the end, though I’m not the biggest fan of either tech-death or deathcore (though there are acts I do enjoy in both styles), I do try to give genres I’m not huge on a fair shake. So, is Breach of Demise worth your time? Certainly, it is. If you crave deathcore that’s chock-full of dissonant, unhinged guitar craziness, you’ll eat this one up. There’s no shortage of talent on this one, and there are flashes of brilliance. Despite my own personal misgivings for the style, I can recognize the talent it takes to make this kind of music, and Breach of Demise obviously has it, placing them in the sphere of new Christian deathcore acts to watch. 

Check the band out HERE.

For Fans Of: Krig, Abiotic, Archspire, Rings of Saturn, Beneath the Massacre, Dehumanize

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