FIRST ONE DIES DROPS A DEATHCORE MASTERPIECE IN “KINGSLAYER”

Release Date: Out Now via Dark Sails Entertainment
For fans of: Paleface Swiss, All Shall Perish, Hatebreed, Left To Suffer, Filth

Review By Ian Walker

There’s heavy, and then there’s First One Dies. The Atlanta deathcore unit has thrown down the gauntlet with their brutal debut full-length “Kingslayer”, a record that doesn’t just shake the foundations—it annihilates them. With razor-sharp precision, uncompromising intensity, and a lineup forged in the fires of the Southeast’s underground, First One Dies is ready to claim their throne.

What makes Kingslayer so damn effective is its balance. The production is clean without sanding down the raw aggression. Every breakdown hits like a cinderblock to the ribs, but you can still feel the nuance in the guitar layering, the shift in time signatures, the dual vocal patterns that swing between cavernous growls and psychotic highs.

The album’s title track, “Kingslayer”, is a proper centerpiece—equal parts anthem and war cry. If you’re not screaming “I was born to watch kings fall!” by the final chorus, check your pulse.

First One Dies doesn’t just bludgeon—they stalk, they strangle, and then they unleash. Tracks like “Penance is Paid” open with atmosphere before dropping into seismic low-end devastation. “Neckbreaker” is exactly what the title promises, built on riffs designed to snap spines in half. And “Woundfeeder” serves up a gut-churning groove reminiscent of early All Shall Perish, but with a distinctly modern bite. If you’re a fan of the newer wave of emotionally intelligent, yet aggressively raw deathcore , you’ll find this record rich in pain, precision, and pure hatred.

A massive part of this record’s success is its chemistry. There’s real camaraderie here, both in and out of the booth. Whether it’s Brushy and 2Tall trading guitar assaults like seasoned generals or Big Bird’s drumming flipping from blast beats to groove-laden war marches, every player is operating at top level.

And then there’s Soto, the new voice of this chaos. His performance on Kingslayer feels feral, tortured, and terrifying—exactly what this genre demands. But more than just noise, his delivery adds character. This isn’t just screaming for the sake of it—it’s expression soaked in trauma and rage

“Kingslayer” is not just a debut—it’s a statement. It’s First One Dies dragging the entire deathcore genre by the throat, slamming it down, and saying: “We’re here now.”

This is one of the best debut records to hit the heavy music scene in recent years. For those still craving the brutality of Suicide Silence or the technical chaos of Paleface Swiss, while also seeking that emotional weight that the newer breed brings to the table, Kingslayer is mandatory listening.

With a loyal fanbase already forming, a reputation for live mayhem, and a record this good under their belts, the future of First One Dies is anything but quiet. This is the sound of a new dynasty rising in blood.