Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| About.com | |
| Allmusic | |
| Alternative Press | |
| Chronicles of Chaos | |
| Komodo Rock | (7.6/10) |
| Rock Sound | |
| Thrash Hits | |
No Time to Bleed debuted at #32 on the Billboard Top 200, selling 14,000 copies in the U.S. alone shortly after its release.
Critical reception for No Time to Bleed was generally positive. Eduardo Rivadavia of Allmusic gave the album a rating of 4 out of 5 and praised the vocals and musicianship. He directly stated that there is a "surprisingly varied array of guitar riff textures, liable to impress the likes of Dimebag Darrell or Tool's Adam Jones. He followed along with saying "Cap this off with an instinctive nose for songwriting economy (no overlabored epics for this band) and lyrics that, while simplistic and even repetitive, at times (e.g. 'Wake Up' and the title track), are also both refreshingly direct and intelligible."
Jim Burt of Rock Sound gave the album a 9 out of 10 and opened his review by generally focusing on the overall delivery, describing that Suicide Silence have "mixed up the blast beats with super-size helpings of mammoth slow groove and extra brutal beatdowns, a tasty addition to their already formidable arsenal." He then closed his review stating that No Time to Bleed is "a ruthless and unrelenting attack on the senses and a top-class exercise in extreme metal oppression. Spearheading the US new-wave? The sky’s the limit…" Phil Freeman of Alternative Press stated that the "thunderous drums" were the "best thing about the album" and even put focus into instrumental track, "...And Then She Bled" stating that it's "a moody instrumental, reminiscent of Slipknot's quieter moments."
Read more about this topic: No Time To Bleed
Famous quotes containing the word reception:
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)