Wage War - Landfall album review

Charlotte Bates

Oct 6

4 min read

Wage War are back with their sixth studio album, Landfall, and they're bringing their best album to date.

It's been a journey for Florida metalcore outfit Wage War, from the crushing heaviness of their earlier releases to the more experimental melodic sounds they've explored in recent years. Their evolution hasn't always been to everyone's taste, but with Landfall, they’ve blended those sides into a seamless, fresh sound that ticks all the right boxes.

Following 2024's STIGMA and this year's IT CALLS ME BY NAME EP, the five-piece have returned with thirteen tracks that dip in and out of everything from industrial metal and nu-metal to emotionally charged, chorus-heavy metalcore Wage War have become known for.

There's also been a behind-the-scenes change: guitarist and clean vocalist Cody Quistad is taking over production duties for the first time. It's a decision that makes sense when you consider just how much the band's sound has developed over the years. Who better to understand what makes Wage War tick than someone who's been right in the middle of it?

The album's title draws on the band's Florida roots, referencing the moment a hurricane finally makes landfall, the horrible anticipation of knowing destruction is coming and being powerless to stop it. Appropriately, the album opens with that feeling: vulnerability followed by heavy crashing.

An emergency broadcast warning introduces the title track 'Landfall', before erupting into a wall of distorted guitars and thunderous drums. Briton Bond sounds vicious, tearing through the verses with his trademark screams, while Quistad brings some much-needed breathing room with a soaring, haunting chorus. It's an impressive opener that wastes no time reminding everyone just how heavy Wage War can be.

'Sweet Dreams' follows with more of the band's familiar formula, pairing chunky riffs and pounding drums with a ridiculously catchy chorus. Wage War have become very good at writing songs that can have you throwing yourself around the pit one minute and singing along the next, and this is another prime example which will hit hard live.

Things get considerably nastier with 'Silk', though, and it's easily one of the album's most interesting moments. Jagged guitars, frantic rhythms and an almost uncomfortable level of aggression replace the polished melodies. Something wonderfully chaotic about it, with flashes of Knocked Loose and Code Orange in the track's sheer intensity. The previous two tracks feel like they built up to this burst of crushing adrenaline and structured chaos.

'Figure 8' takes things in a more melodic direction, a noticeable shift after the brutality of 'Silk', a welcome breather from the heaviness, and while it may not satisfy those hoping for a record full of breakdowns, it highlights how versatile the band has become.

One of the more unexpected moments comes courtesy of 'God Complex', which sees the band playing with a darker, industrial sound. The electronic elements and mechanical rhythms give it a slightly sinister atmosphere; it's another welcome change of pace and proves Wage War aren't afraid to step outside their usual comfort zone.

The middle of the album slows things down somewhat with 'Stay With Me' and 'Silence Has Spoken', giving Quistad's clean vocals more room to shine. Both tracks lean heavily into the emotional side of the band's songwriting, swapping some of the aggression for atmosphere and melody and its this point you can really respect the lyrical writing and vocal performances without them being overshadowed by heavy riffs.

'Way Of Pain' arrives to shake things up again, packed with savage vocals, relentless drumming, and riffs that practically beg for a wall of death. Bond sounds particularly furious here, proving Wage War can still deliver seriously punishing metalcore.

'Red Dot' throws in some nu-metal influences. Parts of it have an old-school feel, with rhythmic twists and electronic flourishes that wouldn't sound out of place on an early Slipknot or Linkin Park record.

Meanwhile, 'Blindfold' brings back darker electronic elements, and 'Spellbound' adds another helping of atmosphere and aggression. 'Song Of The Swamp', which fans will already recognise from the IT CALLS ME BY NAME EP, is another particularly heavy offering and fits comfortably among the album's more aggressive moments.

Closing track 'Silhouette' pulls things back together, starting on a more restrained note before gradually building into a heavier, emotionally charged finale; it brings the record to a satisfying conclusion. It's a reminder that Wage War don't need to choose between melody and aggression when they can make the two work together so effectively.

There's a lot going on here: one minute Wage War delivers some of the heaviest material they've written in years, and the next they head into polished, melodic territory that feels designed for much bigger stages. It's refreshing to hear a band this far into their career still willing to try different things rather than churn out thirteen variations of the same song.

It's also worth mentioning just how much of an impact Quistad's production has had on the record. Everything sounds enormous, from the low-end rumble of the guitars to the clarity of the vocals, and it feels like the band made the album they wanted without too much outside interference.

Whether Landfall will win over those who preferred the rawer sound of Blueprints and Deadweight is another question entirely. There are certainly moments that hark back to those earlier releases, but Wage War have clearly moved beyond being a straightforward metalcore band, and they're not about to apologise for it.