Every Time I Die has never been one to sugarcoat anything, and its new album, “New Junk Aesthetic,” is no different.

The album cover looks like what could easily happen to a tweaked out hippie if he or she were to stumble upon one of this metalcore band’s live performances, but fans of Every Time I Die won’t be complaining.

This is the band’s fifth studio album and arguably the heaviest, but its mature sound demonstrates that Every Time I Die shows no signs of slowing down.

The band’s progressively heavier sound could be attributed to Steve Evetts, the same man who produced their previous album, “The Big Dirty,” as well as “New Junk Aesthetic.”

Every Time I Die seems to be slowly shifting away from the more light-hearted sound of its third album, “Gutter Phenomenon,” to the raunchy southern metal the band is associated with today.

No doubt, “New Junk Aesthetic” is its most venomous record to date, with a sound that is seeking to bite into your flesh before tearing you limb from limb in a fit of remorseless rage.

The first song on the album, “Roman Holiday,” sounds like the beginning of a soundtrack to a horror movie, and the lyrics can’t make anyone doubt that claim.

It opens with grisly high-pitched guitar feedback, while heavy drums build up to a crescendo of lead singer Keith Buckley belting out his trademark virile screams, shouting, “We are the death of the party. We are the life of the funeral.”

This first track is all you need to listen to in order to know this is going to be Every Time I Die’s darkest album yet.

“The Marvelous Slut,” the second song, is fast-paced southern metal at its finest. Andrew Williams and Jordan Buckley arrive early on with soaring guitars only to bring you back to reality with a solid breakdown and back up again with more heavy drumming and guttural screams as Keith Buckley shouts, “How ironic, I’m nailed to the cross while the vultures stuff their mouths.”

“Wanderlust,” the fourth track on the album, is an obvious first single for the band that has more distinct hints of its third album, “Gutter Phenomenon,” than any other song on the album. The song breaks out in rhythmic chords filled with grungy southern charm as it builds into a memorable chorus that will likely be playing in the back of your head for days.

Hardcore moshing and foot tapping had never complemented each other so well, and Keith Buckley’s lyrical genius comes into play, coupled with melodic bursts of singing and cutthroat screams.

Lyrically speaking, Buckley has a way with transforming clichés into original emotions. In “Wanderlust,” he vehemently belts out, “I can’t say where I’ve been and only God knows where I’ll be, but there must be a place for a wretch like me.”

He has also mastered the art of putting soul into otherwise angst-ridden lyrics, as he pithily cries, “Another road as empty as every promise is. If life is pointless, then point taken. Say amen.”

“New Junk Aesthetic” takes the high points of the band’s previous albums and combines them to form the ultimate Every Time I Die package wrapped in filthy metalcore goodness. Every Time I Die continues to push the envelope with each album, proving that it is not tied to the boundaries of mediocrity that many bands of the hardcore genre succumb to.