Heaven in her Arms – The End of Purification Review

Japanese band Heaven in her Arms has always pushed the boundaries of what their music actually is. Is it metal, is it post-metal, is it post-hardcore? Honestly, they’re all of it, and then some. But their latest album, The End of Purification, is an unrelenting barrage of aggressive Metalcore that I can’t get enough of.

For those familiar with their 2017 album, White Halo, you’re probably expecting an aggressive mix of post-metal meets screamo from The End of Purification, but that’s not quite the case. Instead, the album opens up with the track Dawn, an almost eight-minute bombardment of heavy metalcore that, at times, tiptoes the line of deathcore. It was a pleasant surprise, if I’m being honest, and it’s done really well.

Threads of Collapse is a more familiar affair, with the song building up to an epic climactic post-metal wall of sound, with Kent Aoki’s harsh, aggressive vocals painting a visceral picture alongside orchestral atmospheres and colossal guitar leads. These massive atmospheric vibes continue with the slightly more withheld piano-driven track, The Moon That Falls Only Here.

One thing Heaven In Her Arms is incredible at is building aural worlds with their music. You feel transported to another place with their intense buildups and almost sudden drops, like a rollercoaster of sound that keeps you on your toes, all with Japanese spoken word leading you through each track. It’s impressive and part of the band that keeps me coming back for more.

One thing that surprised me was the track Split Prayers, which features ex-JYOCHO pianist and vocalist, Netako Nekota, lending her skills to create yet another dimension for the band. While JYOCHO are known for their complex math rock, that’s not what’s on display here; instead, Nekota’s angelic vocals provide a softer foundation for the band’s heavier, raw sound. The juxtaposition of soft vocals and intense metal instrumental is a truly enjoyable ride.

The End of Purification is an interesting addition to their catalogue, especially considering the band has cultivated a primarily post-metal path for themselves within Japan, sharing stages with bands like MONO – who also dropped an album this year – and helping bring bands like Russian Circles and Deafheaven into Japan. While there are definitely elements of post-metal here, it definitely feels way more like a metalcore record.

The way the band have achieved this sound is the introduction of symphonic elements, which add to the band’s already impressive cinematic wall of sound. There’s almost a Dimmu Borgir vibe to some of these songs, which is honestly impressive. The soundscapes across this entire album are transportive, with only a handful of moments to pause and take a breath.