The story of UK metal outfit Sylosis is one told in two acts: even given the transition from blistering progressive thrash (as we saw on 2011’s ‘Edge of the Earth’ and 2012’s ‘Monolith’) to slower, groovier material (which 2015’s ‘Dormant Heart’ wholly embraced), the full-on modern metalcore that consumed comeback record ‘Cycle of Suffering’ was a shock to the system. Frontman Josh Middleton’s time as part of Architects has hung over his work ever since, no doubt informing the anthemic melodic choruses and hearty breakdowns of 2023’s ‘A Sign of Things to Come.’ With the release of their 7th album ‘The New Flesh,’ Sylosis are once again doubling down on this change of direction— it’s really unfortunate, then, that that sound is what continues to hold them back.

This really is a no-holds-barred metalcore experience, even more so than the group’s previous two albums: the cybernetic theming of ‘The New Flesh’ lends itself to an incredibly polished and effects-heavy style, and Sylosis have that well in hand. Every moment of the record, even the softer moments of ‘Everywhere At Once’ and ‘Seeds In The River,’ fills out the soundstage completely, arguably leaving little room for too many dynamic changes— it’s little issue when almost the entire album is aiming to be bold and aggressive though. Middleton and Marshall’s guitars are obviously the focus here, marking their territory at the absolute forefront from the opening moments of ‘Beneath The Surface.’ Sylosis have hardly reinvented their tones, dialling in a sharp and sleek guitar sound (though maybe one that feels a little more rounded and balanced compared to the punishing bite of ‘A Sign of Things to Come’). On the vocal front, Middleton’s brutal howls are more layered and menacing than ever, sitting well alongside his most confident clean singing to date: if you’ve heard any of the group’s output this decade, you should already know what to expect from them here.

It’s much the same story on the writing front, as ‘The New Flesh’ stays firmly within the guidelines laid out by ‘Cycle of Suffering’— honestly, it is disappointing to see a band that once reinvented themselves with every album cycle now content to coast like this. Still, their formula is tried-and-tested at this point, and the results often speak for themselves. Single ‘Lacerations’ builds to one of the most memorable choruses Sylosis have ever written, giving real gravitas to Middleton’s desperate question of “are you alive, or is it just a chemical feeling?” In amongst a record as overly vicious as this, the brief hints of melody on ‘Erased’ and ‘Adorn My Throne’ jump out at you: Middleton and company could shoot themselves in the foot by leaning too hard into generic arena rock territory, but they do an admirable job reserving these traits for the right moments. The real showstoppers on ‘The New Flesh’ come when the group throw all caution to the wind, bringing a venom that few metalcore bands are capable of. The callout of “remove your f*cking skin” on ‘Mirror Mirror’ is so overblown as to become hilarious, as is the balls-to-the-wall madness of ‘Spared From The Guillotine’ and the anthemic hooks of the title track— just like ‘A Sign of Things to Come,’ the new record will absolutely get you banging your head.

Whenever the album gets you excited though, it comes as a result of Sylosis’ excellent performances and generally strong songcraft, rather than from their usage of these boilerplate ideas: the band that made ‘Dormant Heart’ is still kicking, but they’re smothering themselves under an all-too familiar formula. ‘The New Flesh’ is an entirely predictable listen, like its song structures and chord progressions were picked from a ‘metalcore-for-dummies’ handbook— the stock-standard breakdowns on ‘Beneath The Surface’ and ‘All Glory, No Valour’ can be seen from a mile away, and they certainly won’t shock you as far as their presentation is concerned. Middleton is one of the flashiest and most creative lead players in his field, yet his solos seem to take more and more of a backseat with each subsequent release: now in 2026, his playing lacks any real presence, replaced by the somewhat clumsy acoustics of ‘Seeds In The River.’ Ballad ‘Everywhere At Once’ feels similarly ham-fisted, with Middleton’s concerns over his family life carrying much more weight than any of the song’s lethargic writing devices— its inclusion is rather jarring, rocking the boat enough to ruin the following ‘Circle Of Swords.’

Sylosis are still making metalcore, and they aren’t half bad at it: there are definitely highlights to be found on their newest record, from the savagery displayed on ‘Mirror Mirror’ and ‘Spared From The Guillotine’ to the more anthemic moments of ‘Lacerations’ and the title track. Even still, it’s becoming increasingly clear that Middleton’s time in Architects has set the band on an underwhelming path— ‘The New Flesh’ lacks the intensity or creativity that defined something like ‘Monolith,’ and it’s not even as dependable as ‘A Sign of Things to Come.’ Sylosis have all the talent to make any style of metal their own, and their attempts at metalcore continue to bear fruit: still, the results stink of wasted potential anyway.