Shadow of Intent

About Shadow of Intent

Shadow of Intent started in 2013 as a bedroom project by Ben Duerr and Chris Wiseman in Connecticut. Duerr handled vocals while Wiseman programmed everything else, which is how a lot of deathcore bands begin before they figure out if anyone actually cares. They named themselves after a ship class from the Halo video game series, which tells you something about their demographic.

Their first album, Primordial, dropped in 2016 and immediately separated them from the chug-and-breakdown crowd. The symphonic elements weren't just window dressing — Wiseman actually knew what he was doing with orchestration, probably because he studied it. The production was cleaner than most debut deathcore records, and Duerr's vocals hit that sweet spot between guttural and intelligible. Tracks like "The Prelude to Bereavement" showed they could write actual songs instead of just stringing together heavy parts.

Reclaimer came in 2017 and expanded everything. The album concept drew from Halo lore but functioned fine without a wiki page open. "The Horror Cosmic" and "The Shaping Sickness" demonstrated their range — blast beats and orchestras coexisting without either side feeling neutered. They started touring with a full band at this point, which meant Wiseman had to figure out how to translate programmed drums and strings to a live setting. They managed.

Melancholy arrived in 2019 and marked a shift. Still heavy, still symphonic, but more deliberately paced. "Gravesinger" became a setlist staple for good reason — it builds properly instead of just starting heavy and staying there. "Barren and Breathless Macrocosm" runs over eleven minutes and earns most of them. The album showed they could handle dynamics, which not every deathcore band figures out.

Then came Elegy in 2022. They worked with Jens Bogren for mixing, which gave everything more clarity without sanding off the edges. "Saurian Apocalypse" and "From Ruin... We Rise" hit hard enough to satisfy the pit kids while keeping the compositional complexity intact. The orchestrations got more adventurous. Matt Kohanowski joined on bass, solidifying the live lineup.

As of now, they're one of the few deathcore bands that metalheads from other subgenres will admit sounds pretty good. They tour regularly, their production values keep improving, and they haven't diluted their sound chasing crossover appeal. Duerr's vocals remain absurdly versatile — highs, lows, and everything between. Wiseman keeps writing riffs that work in conversation with orchestration rather than just underneath it.

They've basically become the band you point to when someone says all deathcore sounds the same. Whether that makes them ambassadors or outliers depends on your perspective, but either way, they're doing their thing at a high level.

Shadow of Intent shows are tight and intense without feeling clinical. The crowd stays engaged rather than just waiting for breakdowns. Their technical sections have real impact live, and they command the room through precision rather than shock value. The energy is focused and heavy.

Known for Melancholy, Reclamation, The Abduction of Essence, Exchange of Anguish

See Shadow of Intent Live