Converge is one of those bands that needs no introduction. Forming in 1990, they are known as pioneers of metalcore and a major inspiration for many musical acts in the underground extreme music scene. Listening to records like Jane Doe and You Fail Me, you can see why: these guys have perfected a balance of chaotic complexity and intense emotion. Nearly thirty years later, the group still manage to pull out surprises with albums such as 2009’s Axe to Fall, a record that, on top of showing Converge at their most extreme, also showcased songwriting prowess, especially on concluding tracks “Cruel Bloom” and “Wretched World,” which aren’t really hardcore songs at all. In 2012, the group returned with All We Love We Leave Behind, which, while nowhere near as ambitious as Axe to Fall, saw Converge dipping their toes in post-hardcore. For their first time, it worked very nicely, offering some beautifully composed tracks like “Aimless Arrow,” “Coral Blue,” and the title-track.
I thought it would be their last full-length. It came late in Converge’s career, they were constantly on the road, and we heard no announcements of new music for years. I was content. After all, the group has put out some of the best work I’ve ever heard in hardcore music. However, in the summer, the group put out a two-song EP, I Can Tell You About Pain, and then shortly after, announced a brand new studio LP: The Dusk in Us. I was skeptical at first. The group is pushing thirty years, and out of nowhere, they decided to put out a new LP. I felt it could only be so long before the band’s engine ran out, but now that The Dusk In Us is here, I am slapping myself for ever doubting Converge.
In many ways, Converge is pushing the post-hardcore they experimented with on All We Love We Leave Behind even further. “A Single Tear,” which balances emotion and energy perfectly, shows this most prominently. The song is as gloomy as it is energetic, but despite this tone, carries an uplifting message in lines like “When I held you for the first time, I knew I had to survive.” The song deals with the birth of his child: while he was fearful of it at first, he was able to see the beauty of this moment in his life. This is a much more positive outlook than on a track like “Aimless Arrow,” and has quickly become my favorite Converge opener, and one of my favorite tracks by them in general. Following is “Eye of the Quarrel,” which has a very “Aimless Arrow” structure to it, but is a lot faster and more emotive. “Wildlife” also shows off the post-hardcore side of Converge, but it’s even faster and darker, with lyrics concerning survival through even the worst of times: “Born into such a cruel, cruel world / survival can be such a cruel, cruel curse.” Bannon’s clean vocals are much more prominent on this LP than any other Converge project, and it’s clear he has been working on improving his range. His harsh vocals sound as dirty and angry as ever, but his cleans, while still agreeably whiny, are more melancholic and controlled than ever before.
Of course, there’s also the balls-to-the-wall, blistering, chaotic metalcore tracks that put Converge on the map as well, “I Can Tell You About Pain” being one of them. While this track is all around solid, there’s nothing else on the album quite like the breakdown at the end of the track. Of all Converge breakdowns, I think this one might be my favorite. It gets so angry that it just starts bleeding white noise. It’s something that will really make someone want to rip off heads in the pit. Towards the end of the LP, the back-to-back “Broken by Light” and “Cannibals” also bring the mosh. As soon as “Broken by Light” starts, it sounds like it’s going to start the biggest pit you can imagine. “Cannibals” is pretty hectic as well, continuing the angry intensity of its partner track. While not as strong lyrically, it’s ends with Jacob chanting the word “cannibals” in an unexpectedly catchy moment. Despite how angry and fast all these tracks are, though, Converge weave in a lot of emotional variety. Ben Koller really shows off on these tracks, and his drumming has only gotten punchier over time.
Like many hardcore and metalcore acts, Converge is no stranger to sludge metal. They’ve done this before on tracks like “Jane Doe,” “Worms Will Feed/Rats Will Feast,” and “Coral Blue.” There are quite a few examples on this album as well, such as “Under Duress,” a slow but incredibly heavy track that, while nothing strictly new, is completely sick in its own right. “Murk & Marrow,” while other dirty and noisy, focuses on Jacob’s singing parts. Nate Newton really fills out the bottom end on both songs--in fact, Converge is one of the few hardcore-inspired bands I can think of use the bass guitar so prominently, and I’m really glad that they do. Nate is a powerhouse.
One of my favorite things about every Converge LP is that each will test some new boundary. The title-track is very reminiscent of Axe to Fall’s closer, “Wretched World,” but feels more focused and mature. It begins in pure melancholia, with Jacob Bannon singing at a low and vulnerable register, with lyrics like “And they come at night, when protectors are gone” and “Dear frightened little boy, it’s time to rise above all of their noise.” Each chorus makes the song a little heavier and a little louder. The song climaxes in pure sludge, with Jacob Bannon reminding us of the dusk in us. This is easily one of Converge’s most haunting and beautiful tracks, with each member on their A-game for the full seven minutes, from Jacob’s disturbed screams to Kurt’s despondent guitar, to Nate’s rumbling bass and Ben’s punishing drumwork. “Thousands of Miles Between Us” also explores some interesting territory for Converge. The instrumental is strangely bluesy, meaty, and raw. Jacob doesn’t scream once, but his singing is truly moving, especially delivering lines like “I know you never wanted this, but thank you for giving me your best.” While Bannon’s lyrical content is showing signs of wear, especially on the hardcore tracks, he is still one the genre’s greatest wordsmiths.
That said, some experiments don’t quite satisfy. I salute Converge for releasing a song like “Trigger,” because it is really, really out of their comfort zone, but the track is essentially the band’s take on alternative metal. No matter how much I respect the song, I cannot bring myself to like it. It just sits uncomfortably with the rest of the LP, but I think I would appreciate it more if it was on an EP full of similar experiments. My least favorite thing about The Dusk In Us is it’s closer. “Reptilian” is a solid track, but it’s nothing to out of the ordinary for Converge, and there is no reason this song should be the our last impression of the record. It pales in comparison to “Jane Doe,” “Wretched World,” and even “Predatory Glow,” and feels much more like a mid-album track--the album would work much better if it and “The Dusk In Us” traded places.
Nevertheless, Converge hit yet another home-run with The Dusk in Us. Every member brings something new to the table, which is something I did not expect this late in Converge’s career. I’m happy they proved me wrong. I find myself worrying, once again, whether this will be the last we hear of Converge, but if it isn’t, I have much more faith in what’s to come.
- Alex Brown
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- 2026-07-22
- Stewardship polish
- 2026-07-22
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- restored
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