It really is going to get dark.

Since forming in Birmingham, Alabama in 2021, No Cure have rapidly become one of the most talked-about names in modern hardcore. Blending brutal death metal, metallic hardcore, beatdown, and straight edge fury, the band has never been interested in subtlety. Their lyrics confront addiction, organized religion, and personal conviction with unapologetic aggression, while their music combines basement-show chaos with the technical precision of modern death metal. After impressing with previous releases that showcased a growing command of groove, crushing production, and memorable guest appearances, It Is Going To Get Dark finds No Cure taking another significant step forward. Rather than simply becoming heavier, they've become smarter songwriters, expanding their sound without sacrificing the violent intensity that made them stand out in the first place.

From the opening seconds of "When The Spasms Cease," the band wastes no time establishing an oppressive atmosphere. Deep, murky riffs collide with hollow-sounding drums before high-register guitar leads briefly cut through the darkness. The production immediately stands out, delivering one of the filthiest mixes the band has achieved. The bass is absolutely monstrous throughout, sounding blown-out in all the right ways while never muddying the guitars. Vocalist Blaythe Steuer sounds downright feral, delivering massive guttural screams backed by thick gang vocals that reinforce the band's hardcore roots. The breakdown is exactly what longtime fans expect: slow, disgusting, groove-driven, and devastatingly heavy.

"Oblivion Crusade" doubles down on that formula while showcasing one of the album's biggest strengths: its production. The guitars remain grimy and oppressive while the bass reaches almost absurd levels of low-end weight during the slower chugging passages. Duncan Newey's drumming deserves special praise here, with the ringing snare, tasteful double-kick work, and crisp cymbal accents preventing the slower grooves from becoming stagnant. The breakdown's fuzzy guitar tone feels absolutely suffocating, perfectly complementing the song's bleak atmosphere.

The first guest appearance arrives on "Brain Matter Displacement" featuring Bayway NJ. The song immediately introduces faster blast beats before settling into a groove-heavy rhythm where the backing vocals become one of the biggest highlights. Their constant presence adds tremendous weight throughout the record. Midway through, the band unexpectedly introduces soft, almost angelic guitar textures before descending into a crushing slow build where the drums, bass, and vocals gradually become overwhelming. Jay's rap-inspired delivery brings an interesting contrast, though it never feels quite as natural as Blaythe's vicious growls. Thankfully, the song quickly regains its footing once the band launches into another monstrous breakdown driven by thick gang vocals and distorted riffing.

One of the album's biggest surprises comes with "Slowly Turning Blue." Instead of relying purely on heaviness, No Cure begin experimenting with more elaborate songwriting. The creepy scaling guitar lines immediately distinguish the track from earlier material, while the stomping groove gives the song tremendous momentum. This is where the band's growth becomes obvious. Compared to previous releases, the arrangements feel more layered, allowing tension to build naturally before releasing into devastating breakdowns. The expressive riff writing carries the song, proving the band is capable of much more than simply writing pit anthems.

That progression continues on "Ironclad," featuring Tyler Mullen of Inclination. Dissonant riffs, crushing straight edge lyrics, and thick grooves make this one of the album's standout collaborations. Tyler fits seamlessly into the band's sound, adding another layer of aggression without feeling like a novelty feature. The tasteful cymbal work and varied drum performance also give the song more personality than many standard hardcore tracks.

Perhaps the album's most adventurous moment arrives with "Starved In Sanctuary (My Hands Are In Your Chest Cavity)." While still undeniably heavy, the song introduces subtle atmospheric choirs and softer textures that momentarily pull the listener away from the constant assault. The acoustic outro is especially unexpected and demonstrates the band's growing confidence in allowing songs to breathe rather than ending every track with another breakdown.

That willingness to embrace atmosphere continues into "My World In Flames." The seamless transition from the previous track creates one of the album's strongest moments. Soft guitar strumming, restrained vocals, and careful drum builds slowly evolve into explosive blast beats and crushing grooves. Rather than relying on nonstop brutality, the band carefully controls the pacing, making the heavier moments hit with even greater force. Even the spoken vocal passages, while sitting slightly low in the mix, help reinforce the album's cinematic flow.

"Convulsing In The Dark" returns to familiar territory but remains engaging thanks to its outstanding musicianship. The drums carry tremendous power, while expressive lead guitars weave subtle melodies over the band's thick rhythm section. The buzzing bass tone continues stealing the spotlight, adding an enormous sense of depth beneath the already crushing guitars. Small touches like tasteful power slides and expressive lead guitar phrases prevent the song from feeling repetitive.

"Sharpen The Blade," featuring members of Varials and CELL, delivers one of the album's most satisfying collaborations. The guest vocals blend naturally into No Cure's sound, matching the band's low, disgusting vocal delivery almost perfectly. Thick bass, punishing grooves, and occasional vocal fry techniques keep the song dynamic while reinforcing the album's relentless heaviness.

The album reaches another high point with "Purity Spiral," featuring Vincent Bennett of The Acacia Strain. Opening with blistering blast beats and ripping guitars, the song constantly shifts between speed and crushing grooves. The addition of clean vocals during the slower section provides one of the album's most effective contrasts, giving Vincent plenty of room to unleash his signature monstrous delivery before the song collapses into one of the album's most devastating breakdowns. Rather than simply featuring a guest vocalist, No Cure build the entire song around Bennett's strengths.

"I Am Still Fucking Straight Edge" may be the album's most direct statement. There's no hidden meaning or metaphor here—just unapologetic conviction delivered over aggressive riffs and fast-paced hardcore drumming. Its straightforward nature actually works in the album's favor, providing a burst of raw energy before the closing track.

That finale arrives with "Everything I Love Is Dead Or Dying," arguably the band's most mature composition to date. Slow, dramatic guitar builds create a dark cinematic atmosphere before sharp riffs and deep grooves gradually emerge. The buzzing bass receives one final opportunity to dominate the mix, while layered gang vocals create one of the album's largest sounding choruses. Rather than ending with one final breakdown, the band chooses a slower, more reflective conclusion that emphasizes atmosphere over sheer violence. It may not finish with the most explosive moment on the album, but it leaves a far stronger emotional impression.

One of the most impressive aspects of It Is Going To Get Dark is how naturally it builds upon the band's previous work. Earlier releases proved that No Cure could write crushing hardcore songs filled with memorable breakdowns and thick grooves. Here, they retain everything that made those releases successful while introducing more sophisticated songwriting, atmospheric passages, dynamic pacing, and stronger compositional variety. The bass remains one of the band's greatest strengths, consistently delivering disgusting low-end that glues every song together. The guest features once again elevate the material, but unlike previous releases, they feel fully integrated into the songwriting rather than simply appearing for added star power.

The production deserves enormous praise as well. Every instrument sounds massive without sacrificing clarity. The guitars are grimy, the bass is earth-shaking, the drums carry tremendous punch, and Blaythe's vocal performance is among the strongest of the band's career. Most importantly, the album never feels one-dimensional despite its overwhelming heaviness. Atmospheric sections, acoustic passages, choir textures, and slower builds provide enough breathing room to keep the relentless aggression from becoming exhausting.

Ultimately, It Is Going To Get Dark is exactly the kind of evolution longtime fans hope to hear. No Cure haven't abandoned the crushing death metal and hardcore formula that built their reputation—they've refined it. The songwriting feels more ambitious, the performances more confident, and the emotional impact stronger than ever before. It is an album that balances brutality with atmosphere while proving that No Cure continue to push themselves forward without losing the raw conviction that defines their identity. For fans of metallic hardcore, straight edge, and death metal, this stands as one of the strongest heavy releases of the year.