In less than four years, Coliseum has proven to be a busy band with their touring crisscrossing the United States as well as Europe, undergoing multiple line-up changes and configurations, and releasing a bunch of records (a self-titled full-length, the split 7" with Lords, the Goddamage EP, and the split with Young Widows); sometimes I take for granted that they are as active as they are. No Salvation is the band's second full-length and first for new home Relapse records (Auxiliary is putting out the LP version for those interested in the vinyl version of the album) and is produced by Kurt Ballou (member of Converge and producer of multitudes of bands including 108, Pageninetynine, Hope Conspiracy, etc). No Salvation is just the second record and first major release without guitarist Tony Ash, and it also marks the first appearance of drummer Chris Maggio on a Coliseum record (other than the two songs on the split with Young Widows), and his contribution is a welcome addition over the album's thirteen tracks of punk/ hardcore abandon.
The opening flurry of sound that is "No Benefit" launches No Salvation at a break neck pace that features a more powerful sounding Coliseum that still retains the hints of melody that have been seeping into their overall sound; "No Benefit" is all muscle with a great bridge (the group yells were the icing on the cake) while still having the brain that tackles the topic of healthcare in the US. The seamless transition into the next song shows the subtle growth of the band as "Defeater" hits with all of the precision and brute force that they can muster without losing their "sound." Another excellent transition into "The Fate of Men" has me convinced that Coliseum give us the product of much hard work; the band sounds tight and these transitions and the way that they hit certain changes in the songs, like at the end of "The Fate of Men."
The jangle of the guitars in "Profetas" lets up a bit from the unrelenting pounding that they inflict on the listener, but it is still just as intense as any of the other tracks on the album due in part to the strong vocal arrangements and the vicious, rhythmic gyration of the main riff; "Profetas" is different fare for Coliseum, but it works and adds a depth to the record that I did not recognize at first. "Funeral Line" also has parts that slow the proceedings down at times while at other times it is back to the pedal to the metal speed to which the band normally adheres; these slower parts show the group playing with dynamics in an effective way that also shows their penchant for subtle melody. Also present on No Salvation are the two tracks ("White Religion" and "Skyline Fucker"), re-recorded for this album, from the split with Young Widows, as well as "Shake it Off" (which might be one of the angriest sounding songs on the record) and the very rock and roll sounding "Interceptor" (a great song). Still, even after many listens to the record, my favorite song that Coliseum has on No Salvation is definitely "Fall of the Pigs"; its strong tempo and driving beat are great, and the break part is awesome with the chants of "Fall" and the muted guitar line just all add to one hell of a song (no one will be able to not bob their head to the bridge).
No Salvation is thirteen tracks of full blast fury and anger that pummels you relentlessly the whole time; even the slower (if that is the right word to use) songs do nothing to weaken the album, but rather, they enhance it with just enough dynamic change to keep it interesting. The artwork by Ryan Patterson is top notch; the crisp color scheme is pretty sharp looking and it just ties the whole release together (the LP version that Auxiliary is releasing has a gatefold cover). All in all the record is rock solid with Maggio's spot on drumming, Patterson's howl and guitars, and the just right bass of Mike Pascal; all of the songs are good and the album is a great listen from start to finish.
