{"id":805021,"date":"2026-07-16T05:54:08","date_gmt":"2026-07-16T05:54:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/805021\/"},"modified":"2026-07-16T05:54:08","modified_gmt":"2026-07-16T05:54:08","slug":"loathe-a-stranger-to-you-album-review","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/805021\/","title":{"rendered":"Loathe: A Stranger to You Album Review"},"content":{"rendered":"

Loathe<\/a> are in an enviable position. At first, the Liverpool four-piece followed a familiar trajectory for metalcore acts\u2014coalescing from various corners of local scenes, gradually sleekening their sound, playing those broad \u201cheavy music\u201d festivals in Europe with names like Metaldays and Destruction Derby. Then they embraced shoegaze at the exact moment that the genre started gaining cultural cachet. Their second album, 2020\u2019s I Let It In and It Took Everything<\/a>, bridged the formidable gap between the mainstream and the more pigeonholed outskirts of modern heavy rock. Following a 35-minute ambient companion to ILIIAITE released a year later, Loathe have been in road-dog mode, accompanying everyone from Knocked Loose<\/a> to Korn<\/a> to Three Days Grace on a near-constant spree of world tours. Later this summer, they\u2019re opening for Interpol<\/a>. Whether playing to nu-metal, metalcore, hardcore, post-grunge, or alt-rock audiences, Loathe never feel out of place\u2014it\u2019s hard to imagine them getting booed offstage<\/a> like Deafheaven<\/a> did in front of Lamb of God<\/a> crowds a decade ago.<\/p>\n

A Stranger to You proves that Loathe have the chops and genre-fluency necessary to usurp the legacy acts that cannily tap them as tourmates, but its juggling-act execution also reveals the pitfalls of omnivorous ambition. Every song on the nearly hour-long album contains brief moments that graze brilliance or, in some instances, achieve it. \u201cGemini\u201d and \u201cRevenant\u201d have breakdowns that are more inventive but just as invigorating as their hardcore reference points; \u201cBlock of Flats\u201d and \u201cFortress Down\u201d have anthemic passages that cast the rest of modern metalcore\u2019s melodic shortcomings into sharp relief; \u201cHarder to Pretend\u201d and \u201cMeet My Maker\u201d deploy lurid digital effects to thrilling ends only matched by the Armed<\/a> on ULTRAPOP<\/a>. The most noticeable level-up from I Let It In and It Took Everything is the hooks, but it\u2019s difficult to attribute the faults or strengths of A Stranger to You to any deliberate shift in sound or strategy.<\/p>\n

No score yet, be the first to add.<\/p>\n

Presenting a satisfyingly catchy passage and immediately throwing it into the garbage disposal is a risky strategy, but metalcore was founded on the belief that the potential payoff trumps the comfort of standard song structure. Loathe\u2019s DNA suggests that they\u2019d excel at their most eclectic. At this point in their career, though, their onslaught of mashed-up pedalboard effects, far-flung influences, and quiet-to-loud whiplashes is identifiable even at their most subdued and straightforward. A Stranger to You is frontloaded with songs hellbent on interrupting themselves, most egregiously when the blistering ferocity of \u201cGemini\u201d is upended by an industrial four-on-the-floor beat, or when \u201cHarder to Pretend\u201d is just hitting a prog-pop groove and then fades into a bland *hears Aphex Twin<\/a>\u2019s \u201cFlim<\/a>\u201d once* outro.<\/p>\n

Loathe don\u2019t have to do this\u2014they\u2019re not 5 Seconds of Summer courting an edgy image by citing<\/a> Nine Inch Nails<\/a> as an influence, or Travis Scott<\/a> and A$AP Rocky<\/a> name-checking Bj\u00f6rk<\/a> on their undying quests to be validated as experimental artists. I Let It In and It Took Everything already threw a wrench into metalcore\u2019s inherently diverse sound. A Stranger to You finishes with three patient-yet-adventurous songs all over 4:45 in length, and their collective lack of breakneck transitions allows the album to finally settle.<\/p>\n","protected":false},"excerpt":{"rendered":"Loathe are in an enviable position. At first, the Liverpool four-piece followed a familiar trajectory for metalcore acts\u2014coalescing…\n","protected":false},"author":2,"featured_media":805022,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[342,49,48,75,341,343],"class_list":["post-805021","post","type-post","status-publish","format-standard","has-post-thumbnail","category-music","tag-albums","tag-ca","tag-canada","tag-entertainment","tag-music","tag-web"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/805021","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=805021"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/805021\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/805022"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=805021"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=805021"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=805021"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}