Beartooth “Below.”

Columbus, Ohio’s Beartooth may revel in themes of misery, but frontman Caleb Shomo’s real goal is to have fun. Perhaps that’s why their brand of punk-influenced hard screamo is so effective. Beartooth’s fourth LP, Below, roars of frustration and antagonism and gives way again and again to wails of distress as Shomo reveals his vulnerabilities. But the mosh parts are good, if sometimes stodgy; and more often than not, the choruses hit home.

More brutal than 2018’s semi-accessible Disease, the new record churns with fury from beginning to end. Where Disease provided moments of relief, Below steers a hard course toward the punishing. Raw vocals carry the show, but the production also earns high marks for toughness and clarity. Hard-hitting verses abound, and crunchy guitar rhythms keep things pulsing along. The songs are tightly constructed, with strong transitions and no wasted moments.

While the album brings toughness, however, it loses out on the multitude of hooks supplied by its predecessor. The harsh experience of hearing Below induces much head-banging, and surely this is Beartooth’s intent. The band also skimp’s on the anthemic choruses. Nevertheless, some fans of Beartooth’s alt-rock versatility will find Below less listenable. There’s no “Believe” or “Disease” here to take over the radio.

Meanwhile, new elements of feedback manipulation and gratifying noise creep in. Touches like these strengthen the album’s fixation with dark subject matter. “Fed up with me, fed up with my life/ Fed up with letting you see inside,” Shomo screams on strong single “Fed Up.” Shomo is truly impressive as a screamer, not least for his ability to switch gears for melodic choruses. “Fed Up” reveals a man pushed to his limits. An effective riff completes a catchy call-and-response verse loaded with subtle shading.

“Skin” likewise explores Shomo’s lifelong battle with severe depression. “I’ve been battling it out with the demons within, I’m so uncomfortable,” he reveals before a purgative denunciation of loneliness. This mood is erased by the subsequent unrelenting frenzy of “Hell Of It,” which better exemplifies the amelodic thrust of Below. Other highlights include beatdown marathon “Devastation,” one of the band’s heaviest, and the sturdy title track.

Throughout, the guitar work is pretty gritty and the rhythm section is tight and robust. Beartooth has mastered the art of cutting three-and-a-half-minute gems of anger and catharsis. What is more exciting is that the band simultaneously increases its palette of discord and moves away from their angry verse/emotional chorus formula. “Hell Of It,” for example, has no nice parts, while “The Answer” doesn’t bother to cloak its wounds in aggression. Novelty “The Last Riff” gets more experimental than ever, with its ironic sonic theme.

In this regard, the album sometimes doesn’t go far enough. An arpeggiated guitar interlude on “I Won’t Give It Up” creates interesting possibilities, but the interruption is soon absorbed by another straightforward pummeling session. Rather than exploring dynamic moods, Beartooth habitually chooses to pound extremism. Though many of these mosh soundtracks are effective (check the death-metal-esque ending of “Domination”) they tend to bleed into each other.

By the same token, Beartooth still relies heavily on the all-powerful melodic chorus. Hardly a song on Below lacks one. Several choruses recall the nice-boy pining of Death Cab For Cutie. That these moments emerge from a plenitude of chug-a-lug screaming verses makes for a striking juxtaposition. Some of the album’s most interesting moments are the result of Beartooth attempting new and different types of songs.

As with many screamo outfits, Beartooth’s tortured existence and need for self-immolation can begin to oppress. A talented group with increasing depth, Beartooth, unfortunately, dwells overmuch in the personal. While depression and struggle are relatable and provide the raw materials for our personal growth, they don’t make for much of a plot on their own. It would be refreshing if Shomo turned his analytical eye and songwriting cleverness toward more universal and dystopian themes. More importantly though, Below is a snapshot of a band in mid-stride, and still growing.