Bloodbather are a metalcore band from Broward County, Florida that play an aggressive, dissonant style in the vein of bands like Eighteen Visions and Disembodied. Having been put onto them when a friend sent me a link to their last release, 2016’s Justified Murder, I was eager to hear more, and when Pressure was announced for a release on New Year’s, I was excited to see what they could do. What I got was a record from a band filled with energy and potential that, with time, could help put Broward County on the map.
I’ll concede that, despite my love for the ultra-heavy and mosh-friendly Disembodied-style metalcore, it’s become a bit of a tired trend, with plenty of bands using it as a crutch to give the illusion of sounding aggressive without actually doing so. This is not the case with Bloodbather. The vibe that Pressure gives off is straight-up murderous, due to both the stellar production (recorded DIY, which is impressive) and vocalist Jeffrey Georges’ deranged screams. I’m not exaggerating either: Georges’ vocals, coupled with lyrics that could’ve come straight out of a diary found in an abandoned mental institution, something exemplified in the first lines of “The Final Request,” where he screams “I am coming for your head / I have always prayed for this,” which immediately set the tone for the rest of the record.
Calling back to my earlier point about this style becoming a bit overdone recently however, I do feel that the record gets a little samey at times. Much of Pressure has two speeds: slow and slower, which is great for the live setting, but is a bit tiring to listen to, and I definitely wish that there were faster, more mid-tempo sections like those in the title track and “End.” Thankfully, the record’s brevity helps hide these flaws, so they’re much easier to overlook than they would be on a full-length. With all that said, Pressure is 100% worth your time if you enjoy the other bands I named earlier, and I’m excited to see how Bloodbather will grow in the future (as well as hopefully mosh to the breakdown at the end of “Suicide Note” soon).
FFO: Knocked Loose, Disembodied, Eighteen Visions, Sanction
-Cesar G.
I’ll concede that, despite my love for the ultra-heavy and mosh-friendly Disembodied-style metalcore, it’s become a bit of a tired trend, with plenty of bands using it as a crutch to give the illusion of sounding aggressive without actually doing so. This is not the case with Bloodbather. The vibe that Pressure gives off is straight-up murderous, due to both the stellar production (recorded DIY, which is impressive) and vocalist Jeffrey Georges’ deranged screams. I’m not exaggerating either: Georges’ vocals, coupled with lyrics that could’ve come straight out of a diary found in an abandoned mental institution, something exemplified in the first lines of “The Final Request,” where he screams “I am coming for your head / I have always prayed for this,” which immediately set the tone for the rest of the record.
Calling back to my earlier point about this style becoming a bit overdone recently however, I do feel that the record gets a little samey at times. Much of Pressure has two speeds: slow and slower, which is great for the live setting, but is a bit tiring to listen to, and I definitely wish that there were faster, more mid-tempo sections like those in the title track and “End.” Thankfully, the record’s brevity helps hide these flaws, so they’re much easier to overlook than they would be on a full-length. With all that said, Pressure is 100% worth your time if you enjoy the other bands I named earlier, and I’m excited to see how Bloodbather will grow in the future (as well as hopefully mosh to the breakdown at the end of “Suicide Note” soon).
FFO: Knocked Loose, Disembodied, Eighteen Visions, Sanction
-Cesar G.
Archival details
- Original URL
- https://metallifestyle.weebly.com/metal-lifestyle/review-bloodbather-pressure
- Recovery source
- live-weebly
- Recovery date
- 2026-07-22
- Stewardship polish
- 2026-07-22
- Preservation status
- restored
- Missing assets
- None recorded
Preserved by Bloodsoaked Media · The Archives