Denver crust-metal unit Victim on Fire return with The Old Lie, an album brimming with unrelenting energy, razor-sharp riffs, thick, grinding bass, and snapping, aggressive drums—yet hampered at nearly every turn by some of the most disastrously buried vocals in contemporary metalcore. The record is a study in contradiction: a band capable of crafting truly compelling instrumental moments, yet consistently undermined by a production choice that renders their vocal work almost inaudible.

The album kicks off with the title track, “The Old Lie,” which immediately establishes the template for the record. The guitars blaze through crisp, metalcore-driven riffs, the bass rumbles with an oppressive heft, and the drums maintain a snappy, precise intensity. Yet when the vocals enter, they are swallowed almost entirely by the instrumentation, leaving the listener straining to discern what should be a commanding performance. Even during melodic sections or riffs layered with church-like atmospherics, the buried vocal mix undercuts the emotional weight of the track, preventing it from fully landing.

“Apocalyptic Inclination” ramps up the speed with an almost black-metal-inspired intro, showcasing some of the fastest and most exhilarating riffing on the album. The drums crack and snap with energy, and the bass hits hard, giving the track a sense of apocalyptic scale. Ironically, the quiet midsection, where the vocals disappear entirely, becomes one of the few moments where the listener can fully appreciate the band’s musicianship. When the guttural vocals return, however, they are lost again in a mix that feels negligent.

Victim on Fire lean further into traditional metalcore territory on “Wayward Light,” a fast-paced, energetic track with tight cymbal work, driving bass, and a surprisingly groovy back half. Instrumentally, it hints at a standout performance—but again, the vocals remain a major barrier to cohesion. By the time “Nightmares of Ceasefire” arrives, the pattern is fully established: moody, echoing intros explode into dense riffs and relentless percussion, only to have the vocals almost vanish beneath the sonic weight.

The band demonstrates glimpses of atmospheric creativity on “Soldiers Dream,” where mournful acoustic guitars and a violin passage provide one of the few genuinely emotional highlights. A soft guitar solo at the close underscores that Victim on Fire can create compelling textures when the instrumentation is allowed room to breathe—if only the vocals were treated with the same care.

“Discordance” lives up to its name, featuring frantic double-kick drumming and crushing riffs, yet the vocals seem recorded in an entirely different environment, pasted faintly underneath the track. The effect is jarring, making an otherwise energetic and precise performance feel incomplete. The formula repeats on “Barren Path” and “Front Towards Enemy,” where the interplay of blast beats, thick bass, and aggressive riffing demonstrates technical skill, but the obscured vocal lines prevent the songs from reaching their full potential.

Tracks like “Disharmonist” provide moments of clarity and controlled chaos, beginning with a reverb-heavy, atmospheric intro before giving way to down-tuned riffs, layered drums, and groovy breakdowns. Even here, the buried vocals undermine the tension, leaving the listener frustrated at what could have been a standout track. The album closes with a cover of Iron Maiden’s “Aces High,” a bold but ultimately flawed choice. Victim on Fire struggle with the demands of the song, delivering clunky riffs, stiff drumming, and—unsurprisingly—vocals so deep in the mix that the performance feels incomplete and overwhelmed.

Ultimately, The Old Lie is an album of contradictions. Victim on Fire clearly possess technical skill, compositional ability, and a knack for creating crushing, atmospheric moments. Their riffs are sharp, the drums precise, and the bass heavy enough to anchor every track. Yet the vocal mix is so consistently poor that it drags nearly every song down, transforming what could have been a standout crust-metalcore release into a frustrating listen. Each song serves as a reminder of the band’s potential, teasing what could be a genuinely exceptional record if the vocals were given the prominence they deserve. The Old Lie is proof that talent alone isn’t enough—production choices can make or break an album, and here, the buried vocals keep Victim on Fire from reaching their full potential. Correcting this single flaw could make their next release a defining statement for the band and the Denver metalcore scene.