Lorna Shore’s I Feel the Everblack Resting Within Me is less an album and more an event. Across ten sprawling tracks, the band pushes deathcore to its absolute cinematic limits, layering symphonics, choirs, and ambient textures atop their trademark barrage of riffs, blast beats, and Will Ramos’ inhuman vocals. The result is a record that constantly feels larger than life—sometimes overwhelming, sometimes transcendent, but rarely anything less than colossal.

From the opening moments of “Prison of Flesh,” it’s clear the band is aiming for something mythic. An eerie ambient buildup gives way to explosive drums and dense riffing, immediately establishing the album’s sense of grand spectacle. The track throws everything into the mix—choirs, scaling riffs, gutturals, solos, orchestral swells—and while it occasionally threatens to collapse under its own weight, the apocalyptic final breakdown is nothing short of breathtaking.

If the opener is maximalist chaos, follow-up “Oblivion” highlights another strength: restraint. Its groovier riffs and tighter structure give it a cohesion that makes it one of the record’s most impactful songs. The soaring chorus and fluid solo cut through the density, elevating the track into one of the album’s undeniable highlights and proving that Lorna Shore can devastate without oversaturating every second with noise.

Throughout the album, orchestration plays a central role. “In Darkness” and “Unbreakable” showcase how cinematic touches—choirs, violins, swelling synths—can transform deathcore into something theatrical and almost operatic. In fact, “Unbreakable” even carries a surprising sense of uplift, with moments that feel almost heroic rather than despairing, a refreshing twist for a band so often associated with violence and nihilism. This duality—brutality wrapped in grandeur—runs through the record and distinguishes it from countless other acts in the scene.

Slower and more introspective moments give the album even greater depth. “Glenwood” begins softly, almost reflective, before gradually building into an epic, layered finale. Its dynamics prove that Lorna Shore don’t just excel at chaos—they can carve atmosphere and emotion out of restraint as effectively as they can from sheer volume. Similarly, “Lionheart” thrives on grit and darkness but surprises with affirming lyrical themes, injecting positivity into a genre rarely known for it.

Not every experiment lands perfectly. By the time “Death Can Take Me” arrives, the heavy reliance on choirs begins to blur the edges of the tracklist, and its climactic breakdown feels underwhelming compared to earlier peaks. Yet just as the momentum threatens to dip, “War Machine” jolts the record back to life with thrash-infused riffing reminiscent of Metallica or Trivium, refracted through Lorna Shore’s feral lens. It’s an unexpected injection of variety that refreshes the album’s second half.

The final stretch contains some of the most punishing and ambitious material. “A Nameless Hymn” roars with jagged riffs and some of Ramos’ nastiest vocal deliveries on the entire record, culminating in a breakdown that detonates like artillery fire. And then there is “Forevermore.” At nearly ten minutes long, it feels like the culmination of everything Lorna Shore set out to achieve: sweeping symphonics, relentless intensity, and a cinematic scope that could just as easily soundtrack a superhero epic as fuel a mosh pit. Unlike some of the longer tracks, “Forevermore” justifies every second, evolving constantly and closing the record with a definitive statement of ambition.

The album is not flawless. The bass is often inaudible, the density of the mix occasionally clutters, and certain symphonic elements verge on repetition. But these shortcomings are outweighed by the record’s scope and ambition. When Lorna Shore hit their stride, they achieve moments that feel genuinely genre-defining. “Prison of Flesh” may overwhelm, but “Oblivion” demonstrates their mastery of balance. “Glenwood” reveals their ability to channel introspection, while “Forevermore” cements their reach for transcendence.

I Feel the Everblack Resting Within Me is grand, theatrical, and often jaw-dropping. It may stumble under its own weight at times, but its ambition and emotional range push Lorna Shore into new artistic territory. This isn’t just deathcore—it’s deathcore reimagined as myth, and it confirms Lorna Shore as one of the most daring bands in modern heavy music.

Score: 8.5/10