[8.5/10] Since the 2004 Metal Blade Records debut, The Oncoming Storm, Unearth has elevated its status to one of the more popular bands of the modern metal movement. Certainly, the group deserves accolades in helping build a metal core scene into the industry giant it is today. The group’s style includes many of the tenets of the metal core scene: big breakdowns, guitar melodies that nod to Gothenburg, Sweden, and pissed hardcore screams. The group separates itself from its peers in that in the face of growing popularity, it has remained true to its style and vision, never entering the realm of whiny, emo vocals or mere bubblegum radio rock. Unearth’s third album via Metal Blade, The March, continues upon this path.

III: In the Eyes of Fire revealed an Unearth unafraid of pushing the limits. This album featured no clean vocals and ran full-speed ahead. In an interview I recently read, vocalist Trevor Phips stated the new material would be more melodic. Could this possibly have been a clue to the band stepping towards a more radio-friendly sound? Not at all! Unearth eased its foot of the accelerator on The March, but this album is every bit as heavy as anything in their catalogue—the group just focused on a more mid-paced approach. Trevor’s fist-in-the-face-of-the-establishment mantras, in particular, did not change. The melodies have not really changed, either. Guitarists Buzz and Ken may have looked to the album that garnered their success, The Oncoming Storm, to guide these melodies.

No, the attention of their prior albums really never pushed Unearth into watering down its music. The March is really an extension of the last two albums. One will find, within the album’s contents, more solos and leads consisting of a higher level of musicianship. The guitar duo brings this idea into fruition with the opening track “My Will Be Done.” One player chugs away off tempo notes, while the other uses his fingers to navigate the high end of his guitar. This scenario brings to mind Meshuggah.

“Letting Go” is another standout track for this aspect. In addition to the two producing a melody gushing with emotion, one of the two runs tremolo-picked notes through a pedal to produce an odd, Science Fiction type of sound. In fact, many of the leads throughout the album could be characterized as oddly timed or asymmetrical.

The March will, thankfully, not go down as the Unearth album that left its listeners scratching their heads in confusion. Just like the album’s predecessor, which amped up one area of the group’s music—speed, The March also improves upon other areas: melodies and solos. This idea of improvement rather than change is most likely what keeps this group from disappointing its fans, while adding enough fresh ideas to keep the music dynamic.

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