July 9, 2026

Boundaries - Yearning: The unbeautiful after - Album Review

Item: Yearning: The unbeautiful after
Author: Sh!t Talk Reviews

If you already know who Boundaries is, then you know their latest album "Yearning: The Unbeautiful After" is incredibly powerful. If you're not yet familiar with the band, prepare yourself to be introduced to the band that is currently defining what metalcore is: Aggressive, honest and downright brutal. Derek and John break down why this record, rooted in raw emotion and inspired by tragedy, might just be the future of the genre—an unapologetic blast of honesty, grit, and pain. They explore ...

Let’s be real for a second — modern metalcore is absolutely infested with over-produced, synth-drenched garbage desperately trying to go viral on TikTok. Enter Boundaries. Hailing from the miserable, pothole-ridden streets of Hartford, Connecticut, this five-piece crew has spent the last decade reminding the scene what it actually sounds like when a band wants to cave your skull in.

Formed around 2013, Boundaries started out playing ignorant beatdown hardcore before evolving into one of the most legitimately devastating metallic hardcore acts on the planet. They aren't here to reinvent the wheel; they’re here to tie you to it and roll you down a jagged cliff.

The Lineup

Fronted by Matt McDougal, whose vocal delivery can best be described as a guttural man-bull capable of leveling a small country, the band refuses to give you room to breathe. The rest of the demolition crew features Cory Emond and Cody DelVecchio delivering bone-saw guitar riffs, while bassist Nathan Calcagno and drummer/clean vocalist Tim Sullivan anchor the rhythm section with the sheer density of a dying star.

The Discography of Disgust

If you want to track their descent into beautiful, unadulterated hostility:

Your Receding Warmth (2020): The album that put them on the map. A 32-minute masterclass in 2000s-era metalcore worship that hits like a brick to the teeth.
Burying Brightness (2022): They got a little more melodic, introducing Sullivan's clean vocals. Naturally, elitists cried about it, but the band doubled down and somehow got heavier in the process.
Death Is Little More (2024): A concept album loosely based on Dante’s Inferno that asks the question, "What if existing was actually worse than dying?" It's an absolute bludgeoner. It features guest spots from members of Kublai Khan and Invent Animate, proving Boundaries has the juice to command respect from the genre's heavyweights.

The Verdict

Boundaries is the sound of pure, unadulterated self-loathing turned outward as a weapon. They drop the kind of breakdowns that make you want to crowd-kill your own living room furniture. If you’re looking for progressive, noodly wankfest riffs or uplifting choruses about overcoming adversity, look somewhere else.

But if you want a band that genuinely sounds like they hate you, welcome home.

WATCH

LISTEN

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Connecticut metal core giants boundaries releases their fourth studio album yearning the unbut

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on the 17th of this month. They are a power power power powerful band and it raised a question with me and that is

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are boundaries the new voice of current metal core. Let's query Derek and see what he thinks about it.

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Yeah. So, if you think that metal core is overproduced, glossy, algorithmic

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with, you know, pop choruses that are sing along crammed into every single song is the future of metal core, then I would say Boundaries is the salvation.

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Because for me, Boundaries went back to what Metal Core was when it first started, which was this really wonderful

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collision of violence uh with melodies and painstakingly beautiful melodies and and people, you

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know, singers on stage just bleeding for everybody to see. And that's what Boundaries is. Boundaries is a very

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emotional bordering on a very dangerous and painful experience to listen to, but in the best way possible. And so I think

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that they could be the future of Metal Core because they got back to the roots of Metal Core. They got back to what made Metal Core great, and that is grit and emotion.

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I would agree generally speaking with that. I think that for me, uh, and I say this all the time, I'm terrible with

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genres and, uh, I think often labeling a band as one being in one genre or another, I don't want to say it's

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detrimental to the band, but I think bands can be fluid and move around uh, in their styles a bit. Um, but generally

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with the the uh generally accepted definition of metal core, uh, like you said, you you laid it out well just a

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moment ago. I think these guys do hit a lot of those, but I think Boundaries has taken that up a a number of notches and

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are far more for my ears far far more aggressive metal metal core than the

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metal core of your. And you're right, this is a pain. This album is dripping with pain. And they've been very open

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about it. A lot of this material came as a result of uh, you know, a terrible plane crash in 25 that took the life of

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of four or five, six maybe of of some people really close to them. And I think this was their uh opportunity to to get

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their emotions out about it. So yeah, dangerous, painful, ugly. Um, but this

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album, I think, in contrast to their last album, Death is Little More, is a bit more polished. It is, uh, thanks to

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Drew Folk, uh, the producer. And, um, it is a freaking powerful powerful record.

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Um, dangerous. That's a great word for it.

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Yeah. I mean, when you whenever Tim drops like a clean, you know, hook in there for the haunting melodies like on only endless,

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it never feels like a cheap mainstream cash grab.

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It it like and I hate to say this, but Alive or Just Breathing to me was the ultimate metal core uh record, and that

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was Kill Switch Engage. And it's still a wonderful piece of music.

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However, as they've gone along, they've become algorithmic. The choruses have become bigger. They try to get everybody

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in a stadium singing along, but it feels not authentic the way that the early kill switch engage stuff felt like to

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me. This feels like these guys are bleeding all over the place for everybody to see and they're like, "Yeah, this is our art. This is what it

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is and take it or leave it." And there is some great melodies in there, but it does it feels authentic. It doesn't feel

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like it's this um written to get an entire stadium to sing along.

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Yeah, it's it's hookie for sure, but it's not hookie. It doesn't it doesn't feel at all on any level contrived or

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the only it in listening to this this album, which I've done a ton over the

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past couple of days, I I just have to echo your sentiment. There was nothing about it that made me feel like they sat down and said, "What? What's a chorus

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that could get a bunch of people that would want to sing along with it?" They It was nothing like that. It was just

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this is what is tearing me apart inside right now, and this is how I'm going to exercise it and get it out. and that

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pain that that they, you know, cried out through the tears or whatever, be it the clean vocals, the aggro vocals, it's just what happened.

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And from a song structure standpoint, I think these songs are really well laid out. What I learned when I got into the band on their last record, Death is a

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Little More in 24, is that they a lot of their song structures include tempo shifts where they're slow down and, you

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know, and bring out the real stank face angriness. And this record is no different. It has a lot of that, but I

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think it is done with purpose, but that purpose is only to serve the song and serve what they want to say. It's it's

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funny the when I was listening to it, I was having feelings of going back to some some of the like earlier like a

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Treyu stuff and again a Treyu was never dangerous for me. Kill Switch Engage was never dangerous. Um but it it felt like

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it was a little bit more of a a newer experience. And I think that these guys are um bringing a level of precision

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that nobody else is touching right now under the metal core umbrella. Um and it's extreme and it is not accessible.

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I don't see a bunch of girls taking their bras off and throwing them on the stage for this. Um you know, they're not

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Molly Crew. Um, but for a a a true metal head that wants to experience, I guess,

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the darker side of life uh through audio form, this is it. And it felt very very

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real to me. And a lot of metal core has felt dated for a long time to me. And this doesn't feel dated.

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Not at all. And the the aggression level on this is it's at the same level if not more so than Death is Little More from a

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few years ago. I know that was one of their directives within the band.

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Matthew McDougall, the lead singer. Uh let's run down the the band members.

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Matthew McDougall, lead vocals. Corey Eman or Emmon rhythm guitar. Cody Delvecio lead guitar. Nathan Kagno on

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bass and Tim Sullivan on drums. He also does the clean vocals. Matthew has said that it was part of the mission with

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this album to make sure it was an angry, not angry necessarily, but super aggressive record because in his

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estimation, a lot of modern metal is losing its teeth. Well, holy [ __ ] this is an an album full of fangs, man.

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Well, what's your take on that statement? I mean, do you cuz we listen to a lot of heavy stuff and I don't find

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that to necessarily be the case. I do think that there are a lot of bands trying to fit into a more of a cash grab

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and accessible uh sound, but there are still a lot of very heavy bands that are out there that are not trying to, you know, get rid of their sharp teeth.

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Yeah, I don't I don't disagree with that statement. And hey, maybe we get him on we can ask him for some clarification because now I'm wondering now that you

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asked that is he referring more to bands within a specific genre or you know is it the you know metal core at large or

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metal overall because you're right there is a lot of really really heavy stuff out there. I will say though that this

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album feels really honest. Um, there may be some some cons subconscious stuff

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going on there because I I'm aware just just reading it's public stuff. It's not you and I don't have the inside track

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necessarily. But since we know what a lot of this record is about because that's what McDougall has said, that may

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play a a factor in to how I how honest I perceive this record to be uh in terms of, you know, the vocal

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delivery and the and the musical presentation of it. But holy [ __ ] is it is it is an assault to the same level

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that the last record was too. I'm curious what your thoughts are. Randy Labbuff uh was the producer on Death is

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Little More and again Drew Folk also goes by Wizard Blood worked with them on on this record. This is their first outing with him and you know his

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approach is uh as is it's a known thing is is a little different. He goes for a more polished modern metal aesthetic

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that than I think Randy did. I think Ry's approach is more gritbased and I don't want to say ugly but maybe a

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little more ugly. And I guess based on what I've seen online, they dropped some of the singles and the the consensus

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was, "Oh, well, we're not sure how we feel about this this new style of production." Um, it is different. I like

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polished stuff though, as much as I like some of the gritty stuff. So, I didn't dislike it at all. What What were your thoughts on the just the style?

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Well, the ulti is it's the ultimate declaration of chugging, D-tuned, and hostile. Uh, and that's what I had for a

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note. And if the production is a question for people, I still felt that.

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And I also felt the um the melodies were front and center. And I didn't really

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think that the the production qualities of this record were worse than the last record. I didn't think they were better.

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Um, they definitely are more clean and I'm okay with it. Um, you know, look,

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hostile, dangerous, all those words. I if that was the intent is to add teeth, you know, to, you know, the metal

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industry as a whole. Using words like hostile and dangerous are, I think, mission accomplished. I think that I

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think Boundaries has achieved what they set out to do regardless of whatever the production qualities that people may or

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may not like on that record. I you know and I think too that that uh for most

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people I I think I don't God I don't want to pigeon hole anybody or say the general music listening population

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doesn't know the difference between production styles because I think they do whether they know it or not. You know I think there's a slightly different

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feel. I don't think one is necessarily better or worse than the other like you said. I think this album uh like if

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Death is Little More was watching a movie in an older movie theater, you know, where the screen's a little dirty

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and the speakers are a little worn in, then this album is like watching it in an IMAX theater with Dolby Atmos, you know, surround or something. It's just a

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just got a slight layer of of polish on the top. The snares on this record don't

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have quite that ring to them that they did on death is a little more bas I believe everything sounds great. Um I I

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like it. It's just a little bit different and so I think it's a slightly different vibe.

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As far as song structure though, I think the songs are are really well laid out.

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The performances are super solid and my god, I mean, they're just so so angry

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between Tim's clean vocals and uh and Matthew's aggro vocals. It is such a beautiful pairing between those two.

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It's just so goddamn angry, you know? There's so much aggression on here.

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Clearly, they had stuff they needed to get out. Well, and some of that stuff was, you know, an un unapologetic

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resentment towards the music industry, which is on uh Skies Cast Amber Black. Amber Black. Yeah. Um Yeah. I I mean, I love this quote.

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Behold my contempt for every man. Skies cast Amber Black. Yeah. And you know, I

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think everybody in life has moments where there's just you have complete

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resentment and contempt for somebody because they've wronged you. And I would think that there's a lot of musicians

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out there that put a lot of effort into their craft where they look at their record labels and they look at the music industry as a whole and their art is

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consumed digitally and they're not able to make money and make a living doing what they're doing even though they should because they're really good at

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what they do. And so it's not surprising that there are not more songs like this um that that come out. And I think that

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anybody who's just frustrated with somebody or something in their life will actually really really find a lot of truth and solace in the fact that they're not alone with that track.

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Yeah. This uh they made a switch. This is their first album on Sumerian Records uh coming off of three dot Recordings,

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which um is a label owned by uh the guys in Periphery. And uh I'm not sure why they left Periphery. Uh, I believe the

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info is out there, but I don't know what it is. Regardless, they on your on reporting there. Yeah. Nice reporting.

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I know. I never claimed to not be a complete idiot. You know what I'm saying? Uh, but I know that when they were talking with labels, they they

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wanted a label that was going to allow them to be dangerous and to do to to

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produce a product in the way they needed and wanted to produce it. And they found that with Sumerian who said, "No, you

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know, if you guys need to make this, you know, um, a dangerous record, be dangerous." And I I can appreciate them

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saying, "My god, thank God we found people who who want to let us do this the way we feel it needs to be done."

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Yeah. Yeah. I mean, torn torn wide open, uh, featuring Make Them Suffer. Um, the vibe of that is existential dread

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and the misery of the nightmare of life and feeling um, I guess hunted by your own poor

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instincts. Um, and one of the quotes I and again I'm I haven't been too into lyrics lately, but the lyrics on this record are really good. Uh, we're

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defined by what we survive. Life is a [ __ ] nightmare and no one makes it out alive. Like if you're having I feel

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bad. Sorry, I feel bad smiling when I hear this, you know, hear those lyrics, but they're they're they have an impact.

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And you know me, I am not the lyrical guy here. I mean, track seven, death will follow me. I'm a prisoner to the past, but there's no future for what doesn't last.

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How do you feel right now, John? Do you want to put a revolver up to your skull?

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you know, but and again, but musically it's so good that you just can't help

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but smile because their pain is just really well executed in a in an audio form. Yeah.

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Track nine, Crowned and Crucified, you know, it's a crushing grief song. Um, painful contradiction of lo and loss.

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Love is a gift, loss is punishment. And he says, "It's selfish to mourn the living. a farewell heavier than all.

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You know, like there's some there's some oomph, some depth to what they have to say. And good for them for going to find

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a label that wanted to let them get this out because my grandmother, whenever I got the stomach flu and I'd be puking,

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would go, "Better out than in." And I hated her for that. But as you get older, sometimes getting rid of whatever

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ails you physically, puking, pooping, whatever, and also emotionally and mentally, puking out of

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your mouth and telling somebody about it and then doing it in a positive way, which is what metal is. Let's let's be honest. It takes the negative parts of

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life and makes sense of it and creates a community where everybody's kind of going through a therapy session together. That's what this record is.

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It's a therapy session for them. Getting the toxins out. Yeah. Yeah.

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So, I love Only Endless. Um, you know, I think it's uh some serious grooves, haunting hooks on it.

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Yeah.

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Um, you know, and there's a lot of regret over unspoken words and unlived lives and um but I love this quote. Harm

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grows in neglect. Heartbreak builds in every word never said. And it is true

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that every relationship is predicated on trust and respect. And part of trust and respect is not neglecting those around

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you that you care about and also not being honest and talking. And I think that everything about that track really

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resonated with me. Um because I think that the world needs more of what is kind of uh implied within the track

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itself. Mhm. And you've got musically the the music that's that is exploding

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under all these great lyrics is just so crazy, man.

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It's it's I was just going to say it's chaotic, but not unlike Chamber uh Chambers's latest album. There is a lot

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of chaos there, but it is really brought together and well mapped out. It's not chaos for the sake of chaos. And my god,

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when these guys all suck together for like a breakdown, which fortunately this album has a whole bunch of, which just

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pleases me to no end. Holy, you know, the hair stands up. Yeah.

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Um, yeah, it's just so good. Uh, you know, Only Endless again, one of the singles, four singles have been uh

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released so far. Skies Cast Amber Black, May this Pain Never Leave, Death Will Follow Me, and Only Endless. Like the last album, this album has a a lot of

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cool production layers in there, too, which is not stuff that's necessarily out front in the mix, but it's it's they're all little things that make up

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in the aggregate for really cool flavors and vibes across the album, you know, like this big cannon shot snare drum in

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towards the back part of of Only Endless. Yearning the Unifer to the record, title track, album

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closer. these phenomenal machine gun riffs and this incredible vocal phrasing which apparently Drew Faulk had quite a

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bit to uh to do with working with the guys on, you know, I don't want to say tightening up their vocals, but working with them

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to to help craft some of these phrases and uh and the vocal side of the album.

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So, in that in that regard, it's a good fit with Drew Folk. And this guy comes with a ton of credit, too. He's worked with Knocked Loose, Motionless and

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White, Ice Nine Kills, Disturbed, Fit for a King, Beartooth Tooth, I Prevail, Wage War. I mean, a huge list of of

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really solid guys, um, bands rather. So, it's a killer production team working with a bunch of really talented

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musicians and singers here. I mean, I'm psyched about this record. I had a feeling I was going to like it based on

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how much I liked uh the last one, but every time I've played this album, it's just been like getting beat over the

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face and I absolutely I it I adore this record. I think it's amazing.

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Uh how'd you feel about Landon Tour's uh complimenting uh McDougall's vocal style?

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Oh, I thought it was great. I thought it sit really his his his vocal uh his his his the tamber of his voice and his

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style sit so nicely in that track and my god that that is an a massive massive track musically. So I thought I think it fits perfectly in there. What about you?

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Is that was it uh did it ring your bells?

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Yeah. And when I was listening to I was doing the real job and that track stood out to me and I was like huh interesting. And it was it was

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really well done. It felt very organic um and added to the narrative. So I I think it was really um a nice kind of a

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change of pace. It it definitely sparked my interest while I was plugging away with the real job.

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Yeah, I actually felt the same thing about the end of Torn wide open uh with Make Them Suffer has that beautiful female vocal at the end. Again, a bit of

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a standout. It changes the vibe on the record a little bit. Any other standouts for you? I defin the leopard's Bell track 8 is was one of my definite

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favorites on the record that will obviously that one's not been released yet but just these crushing crushing riffs punctuated by these great melodic

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arpeggios on guitar killer clean vocals on that one too more of their sweet tempo shifts they're just so sick and I

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will say I don't know if if you'll remember this with that track or not but the cold stop silence at the end of the track. Yeah.

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Is absolutely [ __ ] deafening. It goes from this amazing, you know, wall of

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just a audio assault and it just dead stop and that silence is so loud. I

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remember like turning, you know, like what the [ __ ] just happened and it god I mean it's powerful track.

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Yeah. Well, look, I all I'll say is uh Matthew, Corey, Cody, Nathan, and Tim, I

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want to thank you, and I know John wants to thank you for putting all of your poop and your pee and your puke and

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your, you know, mental sewage out for the world to digest because the digestation is a little bit painful, but in the best way possible.

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So, thank you. Yeah, it's we we reference pain art, great art coming

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from pain often and I think this is a a perfect example of that. And you just feel bad for the guys. They lost a lot

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of good friends unexpectedly in one shot and that that sort of thing can have a pretty

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a pretty heavy effect. And um I'm glad that uh I'm not glad that they had a chance to actually No, I am glad that they had a chance to get that out. they

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had a venue to uh to release some of that pain and those emotions and selfishly I'm glad that they are sharing

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it with us in the form of this album because it's well it's amazing.

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Well, thank you for letting me do potty talk to reference it and make light of their pain. I I'm not trying to diminish their pain, but I was just trying to,

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you know, be a little childish, a little shitti-talky. You know, I was wondering I was thinking like this is obviously this is a super super aggressive album.

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Um, and there are people that maybe not are who who are perhaps not into this

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level of heavy music who would listen to this and who will listen to this and go, "Oh my god, that's just it's totally undicernable. You don't know what

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they're saying. You can't tell." And and respect, that's cool. Everybody has an opinion of what they like and what they don't like. But what it got me wondering

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was if you take this record and you back it up to say Master of Puppets, which was 86. Is that

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right? I remember mid80s listening to Metallica like my mom walked into the room or whatever and like I can't

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understand anything that they're saying that like the the the real heavy stuff from the 80s. you bookmark that against

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an album like Boundaries or Chamber or uh you know any any of the the current

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stuff of this level. It would just absolutely floor them because I mean again you and I are accustomed to this

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genre, this style of music, so we can pick out what the vocals actually are and things like that. But it it just had

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me laughing about like what somebody who thought Metallica's stuff was too aggressive would think about this.

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My father walked into the room and I was listening to Shout at the Devil and he was like horrified, you know. But if he

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was still alive and thankfully he's not to hear this, he would have been like, "What is wrong with you? Why do you listen to this?" Yeah.

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You I didn't raise you to listen to this garbage, you know? I mean, seriously, that that's

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that is exactly what he would say. And good. That that means it's dangerous. It

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means hostile. It's rebellious. It's all the things that metal, rock, you name it, you know, should be. You take

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whatever whatever bucket you want to put the music in. It always should be when it comes to rock right through metal, death metal, metal core, you you know, whatever.

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It has to be dangerous. And as soon as it's not, it's probably not authentic and it's probably not going to be wellreceived. And I'm just being honest.

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Well, no, it won't be wellreceived by the people who are into that style and that level of heavy, you know, that's

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not to say that there can't be really authentic uh emotional stuff that is not super aggressive.

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Let me make my make let me make my point. Um, Appetite for Destruction by Guns and Roses was authentically

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dangerous and it was saying a lot of things that not necessarily were mainstream, but somehow the mainstream

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gravitated towards it. Guns and Roses after that, was it dangerous? Not really.

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Yeah, not really. I need a little patience like Yeah. Yeah.

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What? So, how do you go from Rocket Queen and Mr. Brownstone to Patience and on an acoustic guitar?

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It they lost their edge. They They weren't dangerous anymore. And it was boring. The Great Spaghetti Incident was

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boring. And everybody's like, "Oh, it's a failure." Yeah, it's a failure because they made money and all of a sudden they wanted to write acoustic songs about patients. That's not dangerous.

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So, I commend Boundaries for being hostile. Yeah. And vicious and purging for all to see.

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And it's a disgusting purge in the best way possible.

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You know, I have not had the pleasure of seeing these uh these fine gents live, but I have watched a whole bunch of live footage. And they're one of the bands

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that can replicate on stage, which is awesome. There's a lot of bands that utilize studio trickery and and are

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heavy-handed in the edit where they can make everything perfect, but they get on stage and they can't replicate it. And that's a bummer when you get excited

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about a record, then you get to, you know, you're super pumped to go see the band and you get there and it's a let down because they can't replicate it on

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stage. These guys can replicate on stage. So, if you have a chance, if you're at all a fan or you just want a really aggressive, powerful live

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experience and they're coming around, definitely go check them out. I know I will be.

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Yeah. Well, with that, um, you guys will enjoy this on July 17th on Sumerian Records, and, uh, we're looking forward

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to you guys leaving a comment and letting us know what you think.

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Absolutely. If you, uh, stuck around with us this far, consider subscribing to the channel. It helps us out. And, uh, like, share with your friends, and as Derek said, drop some comments

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whether you agree or not. And also, who you think should be in the big four, and if you know what we're talking about, great. And if you don't, go back and

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check out some of the last episodes. All right, dude. Thanks brother.

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