For their sophomore effort, The Toronto based hardcore quintet No Warning have abandoned their indie roots and joined the commercial world of major labels. Picking up where Ill Blood left off, Suffer, Survive is indisputably a more produced, clean and polished sound. Don’t let that mislead you, No Warning has not suddenly morphed into the next coming of Adema (shudder), but on the contrary has created a more mature and melodic sound, and yes hardcore is capable of being melodic.

Suffer, Survive remains true to basic No Warning aesthetics, AKA double time drums from Jesse Labovitz pulsating forward alongside bassist Zach Amstert. On top of this foundation are the dual guitar onslaughts from Jordan Posner and Matt Delong which hit like a hammer and blare throughout the entire album. Ben Cook’s vocals reflect Greig Nori’s production effect on the album. Cook’s vocals battle over each other on multiple layers much like Nori’s recent work with Sum 41’s Deryck Whibley

Early fans of No Warning may feel alienated from this album but it would be their loss. The thrashers of No Warning should be given some slack from being stamped with the deadly “sell out” label. Suffer, Survive is a more agreeable sound, but it still holds up with any hardcore album put out by vets like Pennywise or Madball, both who now produce clean and polished, yet unmistakable hardcore.

Album highlights include the opening track “Dirtier than the Next” which kick the listener in the face, grabbing your attention throughout the rest of the ten track, 28 minute head bang. Their most radio friendly tracks are the power chord driven “Bad Timing”, and the raucous sing along “Hopeless Case.”

Where many bands fall on their face in the challenge of not only creating a sophomore album, but switching to a major-run label, No Warning pave the way for a career of brutal, uncompromising hardcore which might just sneak its way onto radio stations across the country. Make sure you keep these guys on your radar because they are quickly coming up in the mainstream’s rearview mirror, now if they could only replace Good Charlotte as pop culture’s perception of punk rock.