SIGNS OF THE SWARM

“I realized I scream things I’m too chickenshit to talk about,” admits Signs of the Swarm vocalist David Simonich.

It’s a surprising admission for a band as self-assured as the Pittsburgh titans, especially when one hears sixth LP To Rid Myself of Truth: a title that exemplifies yet sounds a hell of a lot cooler than the quoted confession, and an album that exudes confidence.

The growth is palpable as Signs of the Swarm are reunited with producer Josh Schroeder (Lorna Shore, Mental Cruelty, Varials, King 810) to continue molting their slamming deathcore exoskeleton. That metal metamorphosis reveals a band now as indebted to Meshuggah, Gojira and Fear Factory as any of the deathcore bands they grew up on—now peers.

It’s not to say they don’t still slam with the best of them—and Simonich’s gargling, acidic growls out-monster his peers—but the focus has evolved into a modern metal paradox: chorus-driven deathcore. In an era where “look-at-me” moments are prioritized to appeal to shrinking attention spans, Signs of the Swarm’s pursuit of substance over style of the month is as refreshing as it could be surprising.

“I know it’s ironic given ‘the part’ of ‘Amongst the Low & Empty’ that blew up, but we’ve never had ‘Tik Tok’ as our goal,” admits main writer (and drummer) Bobby Crow of his double bass maelstrom. “For that song, it was simply what I felt it needed, which is why there are less PARTS on the new album, but that overwhelming energy is everywhere.”

Consider the difference between a temper tantrum and all-encompassing rage; the latter was the goal when Crow decided to scrap much of the writing under two months before entering the studio. “Be. More. Pissed.”

It’s not that the tour was going poorly. Since the release of breakout 5th LP Amongst the Low & Empty, Signs of the Swarm have been going from strength-to-strength, especially of late. A hugely successful North American headliner was bisected with the release of their fastest-streaming song EVER in standalone single “IWONTLETYOUDIE” before the “Faces of Death Tour” continued the streak overseas. It happened despite co-headliner Veil of Maya heading on hiatus a mere 5 weeks prior.

With Signs of the Swarm taking up the headliner mantle solo and scouring for another band (Denmark’s Cabal came in clutch), it’s clear Signs of the Swarm perform well under pressure. After writing breakout 5th LP Amongst the Low & Empty almost entirely in-studio, they geared up to do it again. This stint’s 7-week lead time—PLUS the in-studio time—was a veritable vacation for the band, with the addition of guitarist/backing vocalist Carl Schulz adding a whole other set of riffing hands (and vocal chords) to the band. It was plenty of time for the now-quartet, rounded out by bassist Michael Cassese, to craft metal exactly as they think it should sound: MORE. PISSED.

And it is. Musically the album’s edges are far more serrated than their last’s flirtations with djenty bounce. Take, for example, lead single “HELLMUSTFEARME,” which opens with blast beats and is more indebted to death metal than anything on its predecessor. The album’s next song, “Natural Selection,” was technically the first taste of it, as Signs of the Swarm ripped it on tour with Chelsea Grin. It continues the deadly influence, though this time more lyrically than its musical metalcore via the band’s gnarliest bloodbath yet.

However, it goes deeper, as the “every man for himself” tale is Simonich’s simile for the modern political environment. This wider societal scope continues on “Fear & Judgment,” which targets prejudice. The track grooves alongside the diverse voices of Jack Murray (156/Silence) and Johnny Crowder (Prison, ex-Dark Sermon), who guest on the mic.

Speaking of, the band is also joined by Phil Bozeman and Will Ramos “Iron Sacrament” and “Clouded Retinas,” respectively. The two songs show two sides of the band’s lyrical coin. The former is a meaningless (i.e. no subtext) murderous romp, while the latter finds Simonich grappling with his degenerative macular eye disorder, Stargardt disease. The isolating condition causes one’s central vision to deteriorate, with peripherals staying relatively untouched, making it hard to read and even recognize faces. It, and macular dystrophy at large, is the reason you’ll never see green lights at a Signs of the Swarm show.

It’s the kind of revelation that brings past Signs of the Swarm songs into a new level of clarity, such as “The Witch Beckons.” Simonich also admits something he’s never said aloud in “Scars Upon Scars,” in which he reveals he’s a recovering addict and fighting hard to rise above it. Again, it gives context to a song like “Malady” or others.

“I talk about my family’s ‘mask’ in ‘Boundless Manifestations,’ and that’s a reference to addictions masking problems to the outside world,” clarifies Simonich. “I’ve never been as direct about ME wearing it—not even in talking with those closest to me—always thinking I was fine; I was a drug USER, not abuser, in my mind. In admitting that it IS addiction, I hope to encourage others to consider the reality that they could need help.”

And the band will no-doubt bring that message to the road relentlessly as they always have, with a fall North American headliner just announced featuring Mental Cruelty, ten56., Carcosa and Face Yourself, and next month’s European festival run. The latter features the likes of Sweden Rock Festival, Rock for People, Graspop Metal Meeting, Hellfest and more, plus some headlining shows between and others supporting Lorna Shore and Fit for an Autopsy.

They’re bands Signs of the Swarm are reunited with, having toured alongside them and the likes of Whitechapel, Thy Art Is Murder, Archspire, Suicide Silence, Carnifex, Born of Osiris, To the Grave and more.

It’s a list that will no-doubt grow as the band delivers their groovy take on deathcore the world over. After all, they have no choice; Simonich has to rid himself of his truth—screamed, at the top of his lungs. And pissed.