Warline is a debut full-length that wears its ambition boldly—but not always wisely. Dead Horse Theory brings a war-themed concept album with plenty of sonic aggression and intention, but the execution often feels like a band still learning to fight its own internal battles. From the eerie opening moments of “Enlisted”—with its siren calls, galloping warhorses, and a cold, synth-soaked intro straight out of an ‘80s dystopia—the band makes it clear they’re aiming for something cinematic and apocalyptic. Unfortunately, that ambition quickly meets the stiff wall of their current limitations.

Much of Warline suffers from rigid playing, particularly in the drums and rhythm guitar. Throughout tracks like “Rip the Scars” and “Anti-Social,” the timing between instruments feels tenuous, as if each member is slightly off from the others, and the transitions are frequently awkward or undercooked. The result is music that can feel more anxious than aggressive, with the band trying to push forward while still struggling to stay in sync.

That said, Warline is not without its redeeming qualities. The vocals—alternating between guttural lows and piercing highs—are often the most consistent and compelling element, especially when grounded in the deeper growls. The bass work also deserves praise, offering moments of clarity and tone (notably on “Addictive Personality” and “Walls of Misery”) that add body to the mix, even when the rest of the band wavers.

Interestingly, the band’s stronger moments tend to come when they slow things down. Tracks like “Never Alone” and “Walls of Misery” showcase a more relaxed and cohesive version of Dead Horse Theory. These songs benefit from simpler structures, which give the riffs and grooves space to breathe, allowing the band to lock in more naturally. The stiffness of the drums—often a drawback on faster tracks—actually complements these slower sections, giving them a pounding, deliberate quality. There are even hints of character and dynamic tension, such as the stop-start segments of “Walls of Misery” or the dissonant breakdown mid-way through “Warline,” that show potential beneath the surface.

Where the album falters most is when the band pushes beyond its current reach—particularly in attempts at blast beats and fast transitions, as heard in “Warline” and “Anti-Social.” In these moments, the band sounds not just out of sync, but uncertain. There’s a raw, unrefined quality that might appeal to some for its DIY edge, but more often it comes across as underdeveloped rather than intentional.

Ultimately, Warline is an album filled with intent, but one whose ideas often outpace the band’s technical cohesion. Dead Horse Theory is clearly reaching for something—a grimy, groove-inflected war metal hybrid with hints of death, hardcore, and classic thrash—but the foundation isn’t quite there yet. Still, when they slow down and lean into simpler, doomier territory, there’s evidence that they can lock in and deliver.

This is a rough but honest debut—not without merit, but in need of growth. If Dead Horse Theory can harness the promise found in their slower grooves and continue tightening as a unit, their next campaign might land with far more impact.