This song offered the most and the band should’ve performed it live more. I never understood what was so great about As Grace Descends (despite what I said above). The only song that delivered on all aspects is the title track. And, of course, they brought the ruins that is the re-recorded version of Beginning of Sorrow. It’s always the few specific parts that are awesome, and that’s it. Other than that, they didn’t contribute into sounding any more extraordinary than they could’ve. As Grace Descends has progressive guitar riffs and pounding blast beats, while Sullen Days presents a beautiful guitar intro and outro. I can say that, with a few examples, the first half provided some of the best guitar solos in the band’s existence. While all the songs sound different from each other, distinguishing articulate guitar solos, great drums work and bass, and Frank’s growls sounding as good as ever, most of them hardly offered anything unique, let alone memorable. The album cover doesn’t do it for me either seems extremely generic. The record thematically got the inspiration from the 2012 phenomenon, from what I can tell end of the world horseshit. So maybe I shouldn’t complain to that extent. The production sounds like a downgrade from Blood Oath, but then again, it doesn’t sound as commercial. I think had the opportunity to show his technical abilities behind the kit to much higher dimensions, as well as writing better music compared to Despise the Sun. Upon Mike’s departure for the second and last time, Dave Culross (for the second and last time as well) returned to drum for the band. Four years after another disappointing record in Blood Oath, Pinnacle of Bedlam showcases significant changes, like the overall music and lineup.

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