On their second album, this outwardly infuriated Utah outfit conforms in a paradoxically well-behaved manner to mandates of the deathcore genre. Their curse-spewing vocal signature trades off rumbling low grumbles (the torturer?) with high piercing shrieks (the tortured?); three credited guitarists rarely feel like more than one, though "Kharon" makes for a pastoral interlude, and some chiming toward the end of "Last Breath" gives the moshing mulch some room to breathe. Then they close with "All Hail the Fallen King," in which Whitechapel's Phil Bozeman ups the intensity level a smidgen.